S-r-g-mM-P-D-nN-S A seldom-heard invention of Kishori Amonkar, combining elements from Bairagi, Ahir Bhairav, and Bhinna Shadaj. Despite these lofty origins, I can’t track down a single rendition by its creator – although her disciple Raghunandan Panshikar has recorded it several times, focusing his interpretation on a Jaiwanti Todi-like uttarang, and limiting shuddha Ni to specific […]
• Raag Niranjani Todi •
• 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 Nat Bihag •
S-R-G-mM-P-D-nN-S A Bihag offshoot developed by the Agra gharana, distinguished by the integration of special phrases such as mnDP; PDNS; PDNDP alongside other flourishes from Shuddha Nat (e.g. SR, RG, Gm, mP). Tivra Ma is either avoided or limited to occasional ornamental status (M/P), with komal ni similarly restricted to use as a madhya-saptak kan in […]
• Raag Malavi •
S-r-G-M-P-D-S An enchanting sandhiprakash raga, which has different melodic characteristics depending on the time of day. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar describes the ‘morning form’ as “a complex raga combining Hindol [SGMDS] and shuddha Dha Bibhas [SrG, rS, PGPDPGr, SrGPDP]…you might also find a glimpse of Deshkar [SDSPD, PDSDP]” – whereas she places the ‘evening form’ […]
• Raag Lankeshwari •
S-R-gG-m-P-D-n-S An enchanting blend of three night ragas: Bageshri, Rageshri, and Malgunji. Bageshri, evident via a strong ma–Sa sangati and the skipping of Pa in ascent, combines with Rageshri to present a double-Ga – with more extended melodic developments often following in the manner of Malgunji. Seemingly the exclusive preserve of vocalists, although it remains […]
• Raag Viyogavarali •
S-r-g-m-d-N-S An invention of Agra vocalist S.N. Ratanjankar, Viyogavarali (also titled ‘Viyog Varali Todi’) was derived by omitting Pa from the Carnatic Dhenuka (melakarta #9) – also 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 […]
• Raag Rageshri Bahar •
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 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 Hindolita •
S-G-mM-P-D-N-S A blend of Hindol and Lalit, seemingly introduced by Kirana master Bhimsen Joshi – who recorded it a handful of times over the years, including at the 1992 Sawai Gandharva Festival with Zakir Hussain, and for his 1997 Rarely-Heard Ragas album, also featuring Jaijaiwanti Nat and Bageshri Bahar). Given the sparsity of its recorded […]
