S-R-G-M-P-D-N-S Among the first-learned and most-performed ragas, Yaman’s influence on modern Hindustani music is impossible to overstate. Linked to the early night hours (‘when lanterns are lit’), the disbalancing effects of tivra Ma – the only non-shuddha swara – allow for a kaleidoscopic emotional range, with Sa and Pa often being skipped in aroha to […]
• Raag Yaman •
• Raag Vachaspati •
S-R-G-M-P-D-n-S Vachaspati (‘lord of speech’) is a recent import from the South, adapted from Carnatic music’s 64th parent scale in the mid-20th century. Consequently, its Northern form is still in a state of flux, with few firm melodic conventions aside from staying within the scale’s bounds. The swaras resemble overtones 8-14 of the harmonic series […]
• 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 •
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 Poorvi •
S-r-G-mM-P-d-N-S Poorvi is a long-lived sunset raga from East India, which to many evokes a serious mood of mystical contemplation. Mixing wide and narrow intervals (all swaras have at least one immediate neighbour), its complex twists and turns belie the base scale’s neat, symmetrical nature – with Sa and Pa often being omitted in ascent […]
• Raag Pilu •
S-R-gG-m-P-dD-nN-S A true thumri raga, Pilu’s highly permissive melodic framework functions more like an alliance of amorous folk tunes than a ‘fully codified’ form. While relatively rare on the khayal stage, it enjoys wild popularity across a swathe of semi-classical styles, invoking both variants of Ga, Dha, & Ni to animate love songs and Krishna […]
• 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 Malkauns •
S-g-m-d-n-S Among the most revered ragas in the Hindustani pantheon, Malkauns (‘he who wears serpents as garlands’) combines structural simplicity with a nuanced mythological ethos. Said to have been composed by the goddess Parvati to soothe Shiva’s murderous rage, it is associated with states of ‘severe tranquility’, calling on artists to approach with solemnity and […]
• 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 Kaunsi Kanada •
S-R-g-m-P-d-n-S The modern form of Kaunsi Kanada is often summarised as a blend of two ragas: ‘Malkauns on the way up, and Darbari on the way down’. But the whole is more than the sum of these parts, with both sides interacting to offer labyrinthine moods – described by Debasmita Bhattacharya as one of “heavy […]
• 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 Jhinjhoti •
S-R-G-m-P-D-n-S A staple of thumri, tappa, and other light-classical styles, Jhinjhoti is a hearty raga of the late evening and early night hours. Particularly beloved by instrumentalists, it is a favourite of Hindu weddings and other celebratory gatherings, offering a reassuring familiarity via balancing Durga-like ascending phrases with a special treatment of shuddha Ga in […]
• Raag Durga •
S-R-m-P-D-S Beguiling in its pentatonic simplicity, Durga (‘invincible, impassable’) is inextricably tied to visions of the Mother Goddess: depicted in Hindu lore as a destroyer of demons and protector of the faithful. Despite these ancient associations, the raga is of relatively recent Carnatic import, only gaining broad acceptance among Northern rasikas around the mid-20th century. […]
• Raag Desh •
S-R-G-m-P-D-nN-S Intimately connected to Indian national identity, Desh gives melodic direction to the famous patriotic anthem Vande Mataram, as well as soundtracking dozens of Rabindrasangeet. Associated with the second quarter of night, renditions tend towards the sweet and romantic, borrowing liberally from thumri, hori, and other folk forms. Re is prominent – and the raga […]
• Raag Darbari •
S-R-g-m-P-d-n-S Darbari has been described as “the emperor of ragas, and the raga of emperors”. Its majestic tones famously echoed across the marble floors of Mughal palaces in centuries past, bringing solemn relief to kings, warlords, and diplomats alike. Consequently, renditions tend to retain a grave, reverential patience, laden with heavy, vocalistic ornaments and turns. […]
• Raag Charukeshi •
S-R-G-m-P-d-n-S Adopted from Carnatic music, Charukeshi calls for wide-open melodic exploration, favouring long melodies which wind around themselves while visiting the furthest reaches of all three octaves. Like many Southern scales, it is often used as a canvas for reshaping and recolouring ideas from adjacent ragas, while itself presenting an odd marriage of major and […]
• 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 Bihag •
S-R-G-mM-P-D-N-S Created via the artful grafting of tivra Ma onto a Bilawal-oriented base, Bihag contains a wealth of melodic possibilities. Long linked to late evening festivities, its meend-laden tendencies are explored with symmetrical articulations and fluid resolution phrases, guided by nuanced swara hierarchies which may display significant gharana-to-gharana variance. Swara-congruent with multiple ragas, including Chayanat, […]
• Raag Bhupali •
S-R-G-P-D-S Hailed for its structural simplicity, Bhupali is often the first raga taught to Hindustani students. While the same Major Pentatonic scale form is shared by countless global cultures, India’s incarnation (named for Madhya Pradesh’s Bhopal region) presents its own quirks – invoking tranquillity and home-bound reassurance with interlinked sliding motions and emphatic resolutions. Shares […]
• Raag Bhimpalasi •
S-R-g-m-P-D-n-S Associated with the invigorating warmth of the late afternoon sun, Bhimpalasi evokes multiple shades of shringara (‘romantic love, erotic desire’). Thought to have arisen from an archaic union between Bheem and Palas, the raga calls for direct, passionate melodic outpourings, balancing a deft pentatonic ascent with the symmetry-inducing addition of Re and Dha going […]
• Raag Bhairavi •
S-r-g-m-P-d-n-S Probably the most prominent raga in the entire Hindustani canon, Bhairavi (‘awe, terror’: after the Fifth Avatar of the Mother Goddess) is a concert-closing staple. Unique in its chromatic flexibilities, the raga may span the full swara spectrum, allowing for a multitude of moods in the hands of a master. Long linked to the […]
• 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 Basant Mukhari •
S-r-G-m-P-d-n-S Blending the poorvang of Bhairav (SrGm) with the uttarang of Bhairavi (PdnS), Basant Mukhari bears the imprints of multiple musical cultures. While its main modern inception is traceable to S.N. Ratanjankar’s eclectic Carnatic borrowings, some also link it to the near-extinct Raag Hijaz, itself derived from Arabic maqam. Scale-congruent forms turn up across the […]
• Raag Bageshri •
S-R-g-m-P-D-n-S An ancient raga of the late night, Bageshri is associated with vipralambha – the profound shades of longing felt by a separated lover. These sentiments are reflected in its multipolar phraseology: artists may resolve towards Sa for a clustered, inward-turning feel, or towards shuddha ma for a more open, expansive sound – often seen […]
• Raag Asavari •
S-rR-g-m-P-d-n-S An antique late morning raga, Asavari comprises two main variants: an older, Dhrupad-favoured ‘komal re’ form, and a more recent set of ‘shuddha Re’ offshoots. Both call for complex connective motions and expressive oscillations on dha, which may be tuned ati-komal. Classical ragmala paintings often depict Asavari as a female snake-charmer sitting atop a […]
• 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 Ahir Bhairav •
S-r-G-m-P-D-n-S Inextricably linked with the Indian sunrise, Ahir Bhairav draws on ideas from both the North and South of the Subcontinent. Possibly named for the Ahir cattle-herding caste, the raga is fabled to mimic the ringing of cowbells at dawn – with patient ascent patterns often settling into extended oscillations on the komal re (seen […]
• 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 (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 Ramkali •
S-r-G-mM-P-d-nN-S Resembling ‘Bhairav with touches of tivra ma and komal ni in avroh’, Ramkali is an early morning raga, often associated with Sikh saintly traditions (“the emotions in Ramkali are like those of a wise teacher disciplining their student, who is aware of the pain of learning…”). Though generally similar to Bhairav, Ramkali focuses more on […]
• 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 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 Nat Bhairav •
S-R-G-m-P-d-N-S Associated with Ravi Shankar’s 20th-century experiments (although not, contrary to common perception, directly invented by him), Nat Bhairav is named for its combination of Nat in poorvang and Bhairav in uttarang. Flavours of Bhairav tend to dominate, including an ati-komal dha and vakra phrases resolving with GmRS (adapting Bhairav’s GmrS). Expounded mainly in madhya saptak, its […]
• 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 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 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 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 Hansadhwani •
S-R-G-P-N-S Hansadhwani translates to ‘call of swans’ – a creature with rich cultural associations in the Subcontinent (Saraswati, goddess of music and learning, is often depicted atop a swan, said to symbolise purity, discernment, and the process of breathing). Originally an import from Carnatic music, the raga’s pentatonic simplicity invites the listener towards the calm […]
• 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 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 Bheem •
S-R-gG-m-P-D-n-S Near-identical to Gaoti, Bheem is distinguished by its allowance of komal ga in taar saptak. Tanarang notes that “in uttarang, komal ni is always rendered [via a] meend from Sa, as a kanswar like GmP, (S)nS…Similarly in Avroh, ni is generally skipped like SP/DP“. The vakra GmRS is taken instead of mGRS. (n.b. Parrikar notes the […]
• 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 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 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 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 places greater emphasis on the double-Ga, while the rest of the raga tends to fit into the thumri-allied Mishra Kafi framework. Almost all recordings are on either […]
• 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 Shuddha Kalyan •
S-R-G-M-P-D-N-S A popular early night raga, Shuddha Kalyan ascends with the same 5 swaras as Bhupali (SRGPDS), and descends with the full 7 of Yaman (SNDPMGRS), leading some to title it ‘Bhoop-Kalyan’. Phrases tend to end on the poorvang-slanted Sa, Re, Ga, or Pa – and both the ‘avroh-only’ swaras (Ni & Ma) must be treated subtly […]
• 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 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 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 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 •
S-R-G-m-D-n-S Working along the lines of a ‘shuddha Ga Bageshri with shades of Khamaj’, Rageshri enjoys popularity among vocalists and instrumentalists alike. Like Bageshri, Re is often weak in ascent, and the ma–Dha sangati is strong – while (unlike Bageshri) Pa is varjit throughout, bringing consistent prominence to the shuddha ma (which is often used to […]
• Raag Pancham Malkauns •
S-g-m-P-d-n-S A loose collection of melodic strands which fall under the general banner of ‘Malkauns with Pa in avroh’ (thus offering significant overlap with Kaunsi Kanada and Sampurna Malkauns). Ascents typically stay true to the pentatonic structure of Malkauns, and the Pa is usually rendered in vakra avroh lines (e.g. ndmgmdP or gmdndmP). Beloved by […]
• 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 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”, […]
• 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 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 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 Khamaj •
S-R-G-m-P-D-n-S Among the most popular light-classical ragas, Khamaj’s core form matches the ultra-versatile Mixolydian Mode of Western music. Despite being chosen by Bhatkhande as the titular raga of Khamaj thaat, renditions will usually draw on melodic combinations from outside these main seven swaras. Jairazbhoy discusses the evolution of these ‘mishra‘ features as a natural outgrowth […]
• 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 Jaijaiwanti •
S-R-gG-m-P-D-nN-S A much-beloved but highly intricate raga, featuring both variants of Ga and Ni. Dhrupadyas hold NSDNR as the essential pakad (with some bemoaning the loss of the “slow glide from Ga to Re…as the distinguishing feature of Jaijaiwanti”) – while modern performers tend to ‘enclose’ the komal ga in the avroh phrase RgR, preferring […]
• 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 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 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 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 Dhani •
S-g-m-P-n-S Despite its ‘Minor Pentatonic’ scale form enjoying global popularity as the predominant mode of blues, rock, pop, and countless other guitar-driven genres, Dhani is comparatively rare as a raga in its own right – with its swara set mostly being heard as the ‘aroha of Bhimpalasi’ rather than in isolation (…it may be the […]
• 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 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 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 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 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 Barwa •
S-R-g-m-P-D-nN-S An Agra gharana speciality, Barwa blends ideas from Kafi (mP, mgR; mPDNS), Sindhura (SRmP; Pg), and Desi (RPRg). The komal ga tends to be omitted in aroha, and ma is rendered deergha, while Re–Pa is often given as the vadi-samvadi. Traditionally associated with the late morning hours, the raga is one of many Kafi-allied […]
• Raag Bairagi (Bhairav) •
S-r-m-P-n-S A pentatonic form introduced to the ragascape by Ravi Shankar in the 1940s. Its swara set – which concisely scatters interval jumps of 1, 2, 3, and 4 semitones – is describable as ‘Megh komal re’ (or ‘Lilavati no Ga’), while its melodies generally draw from the Bhairav–ang (e.g. sustained oscillations on komal re). […]
• Raag Asa Bhairav •
S-rR-G-m-P-D-N-S A joining of Bhairav and the archaic Sikh form Asa (Sanskrit for ‘hope’), matching the swaras of ‘Bilawal double-Re’ – with the shuddha taken in ascent, and the komal in descent. Parrikar notes that “the Bhairav-ang is expressed in the poorvang [e.g. Gm(G)rS], and the rest of the contour looks to Asa [e.g. S, S(m)RmP, […]
• 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 Abhogi •
S-R-g-m-D-S The Carnatic-imported Abhogi is a rare ‘audav Kanada’ raga – somewhat resembling ‘Darbari no Pa/ni’ (or, if the mgmRS Kanada signature is de-emphasised, ‘Bageshri aroha no ni’). As per Tanarang, the raga’s capacity for Darbaric poorvang movements “creates a deep atmosphere…[which] can be expanded in all the three octaves” – while the ultra-sparse uttarang […]
• 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 | […]
