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 Rageshri Bahar •
• 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 Lachari Kanada •
S-R-gG-m-P-nN-S Despite its unique swara set, Lachari Kanada is rare to the point of extinction: the only two recordings I can track down are both brief cuts by Agra stalwart Latafat Kussain Khan (one is said to have been captured at a baithak in Kolkata, the other is of unknown origin). His rendition reveals Kanada turns […]
• 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 Anup •
S-R-gG-m-P-n-S A recent creation of vocalist Sadhana Shiledar which serves to highlight the continuing phenomenon of ragas being inspired by regional folk melodies. As per her accompanying notes to a 2018 performance, “Anup is a dhun-ugam [folk-derived] raga, based on a folk tune from Dewas in the Malwa region of Madhya Pradesh”. Her full-length 2025 […]
• Raag Sohini Bahar •
S-rR-gG-mM-P-D-nN-S A complex, challenging compound of two starkly contrasting forms – Sohini and Bahar – collectively spanning all swara positions save for komal dha (SrGMDNS + SRgmPDnNS). While ‘Sohini+Bahar’ experiments have existed since at least the 1960s (e.g. Rao’s 1966 Raga Nidhi Vol.4 lists a bandish entitled Saba Bana Phoolari, describing the raga as “a […]
