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 Lanka Dahan Sarang •
• Raag Dhanashree •
S-R-g-m-P-D-n-S Dhanashree is a multivariate raga of ancient vintage (listed in Medieval lakshanagranthas as a ragini of Malkauns), which arrives in several present-day forms – usually matching the swaras of Kafi (SRgmPDnS), Khamaj double-Ni (SRGmPDnNS), Bhairavi (SrgmPdnS), Bilawal (SRGmPDNS), or Patdeep (SRgmPDNS). Characteristic motions tend to retain similar ‘generic’ movement patterns, mapping them to the […]
• 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 (NNDPMG, GmG, P(M)G GmG, NDPM, GmG) with melodies from Purva (DMPGmGrG, mGrG, DMP, GmGrG), Jait Kalyan (SSGGP, SS(NS)GGP), and Puriya (P(MP)MDS, SNrS, SNrNDrND, N(DN)P), alongside […]
• 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 many […]
• 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 Khambavati •
S-R-G-m-P-D-n-S A loose mixture involving Jhinjhoti, Khamaj, and Mand, with different renditions emphasising varied facets of these ragas. The movements of the former tend to predominate: as per Deepak Raja, “normally performed in slow or medium tempo, with low to medium melodic density…an instant identification of Khambavati, as distinct from Jhinjhoti, requires consummate musicianship. This […]
• Raag 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 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 bandish by Mehboob Khan ‘Daraspiya’ (Dhundu Bare Saiyan) and Vilayat Hussain Khan ‘Pranpiya’ (Ajahun Na Aye). Tanarang links the raga to Bihag, Hameer, Kamod, […]
• 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 Jogeshwari •
S-gG-m-D-n-S A low-high combination of Jog and Rageshri invented by Ravi Shankar and first released on a stellar 1980 album (although he was performing it at least 5 years before this: e.g. a 1975 rendition from an all-night concert in Varanasi). Jog’s strong shuddha Ga dominates the poorvang, while motions towards the uttarang revolve around Rageshri’s […]
• Raag Bairagi (Bhairav) •
S-r-m-P-n-S A pentatonic form introduced to the ragascape by Ravi Shankar in the 1940s, although the basic scale shape has likely been used in many guises throughout the ages. Its swara set – which concisely scatters interval jumps of 1, 2, 3, and 4 semitones – is describable as ‘Megh komal re’, while its melodies […]
• Raag Meladalan •
S-r-g-mM-d-n-S A truly oddball creation I stumbled upon in Subbha Rao’s 1965 Raga Nidhi Vol. 3: “Meladalan and ‘Thatavidhwamasa’ are pseudo-names which Acharya Brahaspati…has given to a raga the identity of which [he] wants to keep unpublished for certain reasons. He points out, however, that it is an ancient raga which he wants to bring […]
• 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 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 Tivrakauns •
S-g-M-d-n-S A novel experiment by rare raga connoisseur Abhirang, formed by changing Malkauns’ shuddha ma vadi to its tivra variant. This shift renders both Sa and Ma ‘detached’ (i.e. with no swaras either 7 semitones above or below them: a property shared by only Harikauns and Sehera), meaning that conclusive resolutions towards the raga’s two […]
• Raag Rasikpriya •
S-gG-M-P-nN-S A direct borrowing of Carnatic music’s 72nd melakarta scale: which, as the final position on the wheel, has all its swaras set to their highest available positions. In Hindustani music, the equivalent principle would produce Yaman (SRGMPDNS), but the South Indian system allows three variants for each of Re, Ga, Dha, & Ni, with […]
• Raag Ek Prakar ki Kauns •
S-gG-m-d-nN-S An invention of Imdadkhani sitarist Rais Khan (who, with a pleasing lack of pretention, named his new raga ‘a type of Kauns’). From Martyn Clayton’s excellent liner notes to a 1985 Navras recording: “Indeed an unusual raga…Rais Khan’s ‘Ek Prakar ki Kauns’ is based on Malkauns, but incorporates two extra notes [shuddha Ga & […]
• 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 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 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” – in particular, the Ma-mixing catchphrases Sm, mGP and MMPPd, dNdP. Refer to the Rajshekhar Mansur bandish transcribed below, which showcases uttarang forays of MP, PdNdP and a prominent M\G glide. Mewati innovator Pandit […]
• 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 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 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 (although the raga is also popular in the Agra gharana). 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 […]
• Raag Kalingada •
S-r-G-m-P-d-N-S Kalingada shares the same seven swaras as Bhairav, but approaches them in distinct fashion – generally preferring a simpler, less ornamented character (as per Rajan Parrikar: “Kalingada has a flippant mien…far less austere than Bhairav. Ga and Pa are advanced to positions of influence, and the swara-lagav is mostly linear, without the andolit treatment […]
• 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 elaborate extensions into Jog’s territory (the inclusion of komal ga means that all Jog’s swaras are now present). In […]
• 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 ideas from two well-known morning ragas – Jaunpuri and Bhairav. Parrikar pointso to the “crowded swara-space”, with both komal and shuddha variants of Re, Ga, and Ni on display: meaning that the entire komal ni to […]
• 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 routine of breathing). Originally an import from Carnatic music, the raga’s pentatonic simplicity invites the listener towards the calm […]
• Raag Gagan Vihang •
S-R-G-m-P-D-N-S As per Ocean of Ragas, Gagan Vihang (Sanskrit: ‘Birds of Heaven’) “was composed by Pandit Dinkar Kaikini…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 others also point to the influence of Shankara. The Agra khayal innovator […]
• Raag Bheem •
S-R-gG-m-P-D-n-S Near-identical to Gaoti, Bheem is often said to be marked out by its allowance of komal ga in taar saptak (although nowadays, this distinction seems mostly moot – there are plenty of Gaoti renditions with this characteristic too: e.g. vocalist Acharya Jayanta Bose). Gwalior singer and educator Tanarang notes that “in uttarang, komal ni is […]
• Raag Anand Bhairav •
S-r-G-m-P-D-nN-S A rarely-heard member of the Bhairav raganga, which seems to have no precise prakritis. As per Rajan Parrikar, “the komal dha in Bhairav is replaced by its shuddha counterpart, and 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, […]
• Raag Rangeshwari •
S-R-g-m-P-N-S Like Parameshwari and Gangeshwari, Rangeshwari (‘Lordess 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 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’) places significant emphasis on the double-Ga, while the rest of the raga tends to fit into the thumri-allied Mishra Kafi framework. Virtually all […]
• 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 ‘Bhairav 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 [transcribed below]: notice the strong ma and […]
• 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 raga has neither a shuddha Ni indicating Chandrakauns, nor an avroh like Bageshri…so it couldn’t gain much popularity”). The renowned Gwalior vocalist described his revival […]
• 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 ‘Kirwani tivra Ma’, ‘Todi shuddha re’, or ‘Madhuvanti komal dha’. Despite the broad 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 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 •
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 sharing conceptual 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”, gives […]
• Raag Malayalam •
S-R-G-m-P-d-n-S A barely-documented morning raga created by Ali Akbar Khan sometime around the 1970s – named in honour of his mother (‘Malaya’) and father (‘Alam’: also the name of Khan’s son, born in 1982) [n.b. the Tamil-derived Dravidian language family of the same title is of a separate etymology, derived from ‘mala+alam’: ‘the land near the […]
• 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 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 Jogiya •
S-r-m-P-d-N-S Jogiya (from Sanskrit yogi: ‘State of Union’) is a shadav raga of considerable mystique. Tanarang recounts “a characteristic mood of devotion and detachment…Jogiya has komal re and dha like Bhairav, however they are not oscillated…and shuddha ma is powerful as nyas and vadi”. Generally expandable in madhya and taar saptaks, the raga’s geometries revolve […]
• 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 […]
