Quirks: Maximal

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Ragas with a ‘constellation’ that fills the largest possible area within the swara wheel (i.e. its swaras are ‘spread out’: like cricket fielders distributed around the boundary rope). For example: the 12-note chromatic scale would fill the entire available space, and a 2-note interval would merely draw a ‘line’ with zero area – with all other swara-sets falling somewhere between these extremes. ‘Maximal’ ragas are those which draw the ‘largest possible shape’ from the number of swaras they have available: indicating that their tones are ‘maximally spread out’ (i.e. a ‘narrow distribution’ of adjacent intervals: compare the ‘maximal’ Malkauns‘s ‘3-2-3-2-2’ to the ‘smaller’ Kaushik Dhwani’s ‘4-1-4-2-1’)
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(‘maximal’ Malkauns vs. ‘smaller’ Kaushik Dhwani)
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Quirks: Atritonal | Fragmented | Centred | Maximal | Self-shadowing | Consecutive varjits | Pa-repeating | Komal Pa
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[Below – all tag results:]
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• Raag Loom •

S-R-G-m-P-D-N-S A rare but charming all-shuddha raga, said by some to be an older form of the Bilawal lineage. Most commonly associated with Ali Akbar Khan, who performed several variants over the course of his long career: including the ‘pure’ Loom, as well as Loom Nat and Loom Mand (all SRGmPDNS). During one concert, Khan recounted […]

 

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• Raag Gaud •

S-R-G-m-P-D-N-S Now lying dormant, Gaud – assumed to have been named for its origins in the archaic Gaudadesha region – is best-known via its parental role in compounds such as Gaud Malhar, Gaud Sarang, and Gaud Bahar. In spite of its modern scarcity, the raga played a vital role in Hindustani history, turning up in numerous […]

 

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• 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 […]

 

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• Raag Amiri Todi •

S-rR-g-m-P-dD-n-S Created by sarod maestro Amjad Ali Khan in 1974, catalysed by the untimely passing of legendary vocalist Amir Khan the same year. As recounted to Indian Express in 2009: “My love and reverence for Khansaheb does not stem only from his music, but for his truly kind and humble nature. When he died, it appeared […]

 

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• Raag Asa •

S-R-G-m-P-D-N-S Asa (‘Hope’) is a historically influential raga which still enjoys widespread fame in Sikh musical traditions. Long popular in the Punjab, it is mentioned over a hundred times in the Guru Granth Sahib (1604), connected to the Kafi and Asavari lineages of that era. Most major Gurus have composed shabads in it – as […]