S-r-g-m-P-d-N-S During my original search for the ‘32 sampurna thaat’, I couldn’t find a single raga that precisely matched the SrgmPdNS swara-set. This surprised me, given the scale’s inherently fascinating shape – with a poorvang-uttarang bifurcation of ‘Bhairavi–Bhairav’ (Srgm+PdNS), equivalent to ‘Bhairavi shuddha ni’, ‘Bhairav komal ga’, ‘Todi shuddha ma’, or ‘Kirwani komal re’. While […]
• Raag Ardhanaarishvara •
• Raag Kaushik Dhwani •
S-G-m-D-N-S A modern-era descendent of the ancient Bhinna Shadja, essentially indistinguishable from its parent. Ma is a strong vadi, and a S\D glide is common in descending motions – but aside from this, artists are essentially free to roam at will within the scale, with all swaras employable as nyas across all three saptak (Tanarang: […]
• Raag Hanskinkini •
S-R-gG-m-P-D-nN-S Running something like a ‘double-Ga, double-Ni Dhanashree’, Hanskinkini is full of florid alankars and intricate melodic turns – reflected in the meaning of its name, which translates as ‘swan’ + ‘small tinkling ornament’. Performers may draw on the melodic flexibilities of other ‘double Ga+Ni’ ragas including Pilu and Jaijaiwanti, while preserving the Dhanashree-ang kernel […]
• Raag Jog Tilang •
S-gG-m-P-nN-S Seldom heard today, the SgGmPnNS scale form once served as a vital historical bridge between Tilang and Jog: the latter, having evolved from the former around a century ago, originally retained Tilang’s double-Ni along with its own distinctive double-Ga. While most artists soon dropped Jog’s shuddha Ni, the older version is still occasionally performed […]
• Raag Sughrai •
S-R-g-m-P-D-nN-S An afternoon raga of the Kanada family, Sughrai shares significant historic and melodic overlap with Suha (the two are sometimes fused as ‘Suha-Sughrai’) – with Mewati vocalist Aarshin Karande describing it as “a ‘higher-shruti‘ version of the more popular Suha” and “an ancient compound of Sarang and Malhar, featured prominently in Haveli Sangeet“. Shuddha […]
• 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), Desi (RPRg), and Miyan ki Malhar (nDNS). The komal ga tends to be omitted in aroha, and ma is rendered deergha, while the Malharic Re–Pa pair is often given as the vadi-samvadi. Traditionally associated with the late morning hours, […]
• 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 Nat Bhairav •
S-R-G-m-P-d-N-S A direct combination of Nat in poorvang and Bhairav in uttarang (SRGm+PdNS), Nat Bhairav was sitar icon Ravi Shankar‘s first raga creation, released in the pre-Independence music scene of 1945 – inspired by Shankar hearing an allied theme sung in a lecture-demo by legendary musicologist B.R. Deodhar (read the full origin tale below). Flavours of Bhairav […]
• 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 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 points to to the “crowded swara-space”, with both komal and shuddha variants of Re, Ga, and Ni on display: meaning that the entire komal ni […]
• Raag Hemshri •
S-g-m-P-nN-S A night raga created by renowned Gwalior composer and vocalist Vishwanath Rao Ringe ‘Tanarang’, essentially equivalent to ‘Tilang komal ga’. In his own summary (seemingly the only source of melodic information): “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 […]
• 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 Dagori •
S-R-G-m-P-D-N-S The seldom-heard Dagori features prominent use of shuddha Ni and characteristic slides and glides between ma and Re. Seemingly invented by Jaipur-Atrauli gharana founder Alladiya Khan (also the progenitor of Maru Bihag and Jait Kalyan), and still near-exclusively performed by the khayal singers of that tradition, although detailed information is scant. While I initially […]
• Raag Arun Malhar •
S-R-G-m-P-D-nN-S A rare and ancient Malhar variant, said to be marked out by a DDnPDGPm 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 of […]
• 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 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 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 car journey through Bengal). Resembles a ‘no Dha’ filtering of either Patdeep or Kirwani, although its shape seems to be unique – with Shankar’s takes tending towards wide-open, poorvang-dominant movements. […]
• 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 Swanandi •
S-R-G-m-P-D-N-S Fashioned by Agra vocalist Jagannathbuwa Purohit ‘Gunidas’ (also the creator of Jogkauns and Jaun Bhairav), fusing material from Bhatiyar, Bihag, and Bhinna Shadja into an engrossing new whole. Bhatiyar forms the main base, with its phrases being reworked to match the swaras of Bilawal thaat (e.g. PGRS; SD NDP, PDPm), with Bhinna Shadja contributing […]
• Raag Rasaranjani •
S-R-m-D-N-S A rare, oddly-shaped audav raga formed by omitting Ga and Pa from Bilawal thaat – essentially, ‘removing the major triad from the major scale’ (it can also be seen as ‘Bhavani plus Ni’, Rajeshwari Re-for-ga’, or ‘Durga Ni-for-Pa’). Vocalist Sakuntala Narasimhan, introducing a drut khayal, cites Rasaranjani as an innovation of her Rampur gharana […]
• 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 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 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 Devranjani •
S-m-P-d-N-S Stretched by the emptiness of a vast Sa–ma poorvang jump, Devranjani is formed by removing the re and Ga from Bhairav. Abhirang offers up both ‘shuddha Ni’ and ‘double Ni’ variants, with the former appearing to be predominant – while Bhatkhande’s early 20th-century works discuss the unavoidable strength of the ascending phrase Sm, mP […]
• 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 Chaya Malhar •
S-R-G-m-P-D-N-S Profiled by Parrikar as “a compound melody formed by joining elements of Chaya to the Malhar raganga signature [mRm\RP]…The nyas on Pa is important, but an inapposite nyas on Re or undue brightening of ma may tilt the development towards Nat Malhar”. Listen to his Gwalior guru Ramrang’s rendition, seasoned with a particularly prominent […]
• Raag Chandrakaushiki •
S-R-g-m-P-d-nN-S An invention of Nikhil Banerjee, combining Chandrakauns and Kaushiki. 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 as having been “created […]
• Raag Bihagda •
S-R-G-m-P-D-nN-S A Khamaj-seasoned Bihag variant with historic 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 […]
• Raag Bihad Bhairav •
S-r-gG-m-P-D-nN-S A ‘double-Ga, double-Ni’ creation of Bhairav-loving vocalist Kumar Gandharva (also see Bhavmat Bhairav and Rati Bhairav – as well as Saheli Todi, Lagan Gandhar, and Madhusurja). Bose describes how “the projection of the raga is done mainly around Sa…the aroha poorvang is similar to Jogiya [Srm: also Gunakri], and it has a small portion […]
• 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, notably including the springtime Bahar – although, as per Darbhanga Dhrupad vocalist Premkumar Mallick, flavours of Bhairav should dominate the overall impression. Bose gives a vadi–samvadi of ma–Sa, while also mentioning the existence of an alternate ‘double-Dha’ version (thus […]
• Raag Adbhut Kalyan •
S-R-G-D-N-S An uncommon Kalyan variety, named Adbhut (‘Wondrous’) for omitting two of Kalyan’s most vital swaras (Ma & Pa). Remains popular in the Dagarvani Dhrupad, but few others have risen to the centreless challenges of losing both mid-saptak swaras. Aminuddin Dagar reportedly considered the raga to be an offshoot of Khem Kalyan, while Uday Bhawalkar links […]
• Raag Rajeshwari •
S-g-m-D-N-S Taking the swaras of ‘Kaushik Dhwani komal ga’ (or ‘Chandrakauns shuddha Dha’), Rajeshwari’s five tones bring an idiosyncratic flavour, tied with diffuse tensions. All poorvang swaras are set to their lowest specific position (Sgm), and all uttarang swaras are set to their highest (DNS), with the relief-bringing Re–Pa axis banished throughout. The resulting scale […]
• 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, reminiscent of […]
• 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 Bhinna Shadja •
S-G-m-D-N-S Often characterised as the ‘older form’ of today’s Kaushik Dhwani, Bhinna Shadja’s lineage stretches back well over 1000 years. It appears in numerous ancient shastras: notably including Matangamuni’s Brihaddeshi (~8th-century), Abhinavagupta 11th-century writings (“Bhinnashadaja, Kaushiki, and Bhinnapanchama are favoured in Summer”), and Sarangdeva’s 13th-century Sangita Ratnakara – which describes its scale form in remarkably […]
• 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 Triveni •
S-r-G-P-d-N-S Taking a hexatonic ‘Shree/Bhairav no ma’ swara set, Triveni’s main incarnation (also known as ‘Tirban/Tirvan’) comprises two congruent swara-clusters – SrG & PdN (both semitonal jumps of ‘1-3’). Melodic motions mostly take after Shree and Bhairav, particularly via a strong re–Pa sangati and G\rS descents – both evident in Shounak Abhisheki’s jhaptal bandish (Kalindi […]
• Raag Savani •
S-R-G-m-P-D-N-S An evening raga, which, despite its regular titling of ‘Savani Kalyan’, usually lies closer to Bihag than the Kalyan family – chiefly via avoiding tivra Ma, and giving greater strength to the Sa–Pa sangati. In the raga’s main incarnation, Dha and Ni are often rendered durbal, and may be skipped via PSP turnarounds (although […]
• Raag Patdeepaki •
S-R-gG-m-P-D-nN-S A highly variable form which grafts additional swaras onto a 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 Khan […]
• Raag Mangal Bhairav •
S-r-G-m-P-D-N-S A ‘shuddha Dha Bhairav’ offshoot, which thus allows for Durga-like uttarang movements such as mPDS. Ronu Majumdar also touches on Bhupali (e.g. SDS SDPDS: gat transcribed below), placing these passages in contrast to Bhairav’s signature GrS conclusion phrase. Subbha Rao’s Raga Nidhi Vol.3 notes that the raga’s movements remain anchored in the pentatonic swara […]
• Raag Madhuranjani •
S-g-m-P-N-S The name ‘Madhuranjani’ is used in reference to several distinct forms. The best-known incarnation is based on the SgmPNS swara set of ‘Dhani shuddha Ni’ (or ‘Patdeep no Re/Dha’) – as exemplified by vocalists such as Abhirang, Sawani Shende, and Jitendra Abhisheki, who also includes flourishes of shuddha Re in avroh. Some suggest that […]
• 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 […]
• 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, Kedar, and Khamaj 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 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 Manjari Bihag •
S-R-G-m-P-D-N-S Produced via a chalan bheda of Bihag, Manjari Bihag also lies close to Pat Bihag, typically differing from both these forms via the exclusion of tivra Ma. Most prominently recorded by Aslam Khan ‘Khusrang’: his 1989 album rendition (bandish: Sohat Kanha & Sughara Banara More Ghar Aaye) gives centre stage to a strong Ni […]
• 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 Viyogavarali •
S-r-g-m-d-N-S An invention of Agra vocalist S.N. Ratanjankar, Viyogavarali (or ‘Viyog Varali Todi’) was derived by omitting Pa from the Carnatic Dhenuka (mela #9) – resembling ‘Chandrakauns plus komal re’ or ‘Gujiri Todi shuddha ma’. All swaras except Ni appear in their lowest specific variants, with the use of ga restricted to Todi-ang avroh motions (e.g. […]
