S-R-G-mM-P-D-N-S Created via the artful grafting of tivra Ma onto a Bilawal-oriented base, Bihag contains a wealth of melodic possibilities. Long linked to late evening festivities, its meend-laden tendencies are explored with symmetrical articulations and fluid resolution phrases, guided by nuanced swara hierarchies which may display significant gharana-to-gharana variance. The tivra Ma, while tending to […]
• Raag Bihag •
• Raag Shankara •
S-R-G-P-D-N-S Long fabled as a favourite of Lord Shiva, Shankara (‘Auspicious‘) takes its name from a famous epithet of the deity (Rajan Parrikar: “the musical embodiment of [Shiva’s] personality, comporting with all its attributes: raudra, veera, irascible, volatile, capricious…”). A pre-midnight raga, it ascends with SGPDNS, often in vakra patterns, before adding subtle touches of […]
• Raag Maru Bihag •
S-R-G-mM-P-D-N-S Despite its A-list status (Deepak Raja’s Ragascape research lists it as the 13th most-performed raga of the modern era), Maru Bihag is a relatively recent invention, at least in its own right – Parrikar notes that “Thakurdas speaks of an older Raag Maru as its progenitor…but the Maru Bihag in currency [today] is widely […]
• Raag Shyam Kalyan •
S-R-G-mM-P-D-N-S Shyam Kalyan (‘Evening Kalyan‘) is a prachalit Kalyan variant. Ga is used sparingly in ascent, and typically skipped in phrases which run through the scale sequentially, and shuddha ma is taken in descent only – while Re is emphasised throughout, and Pa is available as a resting note. As per Tanarang‘s summary, the raga is “a very […]
• Raag Lakshmi Kalyan •
S-R-G-mM-P-D-N-S An enchanting but seldom-heard raga, taking the swara set of ‘Kalyan double-Ma’ (n.b. ‘Lakshmi’ refers to the Hindu goddess of power, prosperity, and fortune). Described by slide guitarist Deepak Kshirsagar as “a combination of Shuddha Sarang and Shyam Kalyan, [although] some combine Shuddha Sarang and Kamod..or use [the swaras of] Shyam Kalyan in the […]
• Raag Kamod •
S-R-G-mM-P-D-N-S An intricate raga which draws together elements from many others (Tanarang: “this dynamic melody is rather complex…one can see clear shadows of Malhar [SmRP], Hameer [GmDP], and Kalyan [SRS, SDP], together with glimpses of Kedar [MPDP] and Chayanat [PDPS, SRS]”). Distinguishing sequences include RRP, GmPGmRS, the taar Sa is accentuated with long P/S slides, […]
• 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 Khem Kalyan •
S-R-G-mM-P-D-N-S A rare-but-charming raga of the Agra gharana, Khem Kalyan is a Kalyan variant with Hansadhwani-like touches. Deepak Raja recounts decoding its phraseology from old recordings, having failed to find a guru who knew it: “This was no ordinary raga…not even just another rare raga. It was a special raga, perhaps beyond reach without a […]
• Raag Chayanat •
S-R-G-mM-P-D-N-S A longstanding combination of Chaya and Nat, creating (as per Tanarang) an “attractive, sweet, and emotionally swaying” mood – the latter in particular summoned via ‘simple vakra’ phrases such as DNDP; RGRS. The Pa–Re sangati is vital, and shuddha ma is stronger than tivra Ma – with the raga inviting a range of expressive […]
• Raag Gaud (Sarang) •
S-R-G-mM-P-D-N-S Aside from its afternoon designation, Gaud Sarang carries no discernible hints of the Sarang family – running more like a vakra Bihag variant seasoned by a GRmGPRS pakad amongst other melodic quirks (some refer to it as ‘Din ki Bihag’: ‘daytime Bihag’). Shuddha ma is strong, but not used as a nyas, with its […]
• Raag Sanjh Saravali •
S-R-G-mM-P-D-N-S Taking the general form of ‘Yaman Kalyan seasoned with Bihag’, Sanjh Saravali (‘Evening Melody’) was devised by Vilayat Khan in the late 1970s. Fellow Imdadkhani sitarist Deepak Raja, aided by input from Khan himself, describes the raga as “incorporating fleeting impressions of several [Kalyan] ragas, including Nand Kalyan and Chayanat…its melodic identity rests on […]
• Raag Pat Bihag •
S-R-G-mM-P-D-N-S A chalan bheda of Bihag, which varies according to gharana. Tivra Ma is generally restricted to ornamental use, while Jaipur-Atrauli singers may showcase a range of additional melodic quirks. In Parrikar’s summary, “most of its mannerisms are Bihag-like, the notable departure being its ‘glowing’ shuddha ma: deergha and mukta” – also see his rundown […]
• Raag Hameer •
S-R-G-mM-P-D-N-S A winding raga of complex historical lineage, Hameer (‘Royal, Regal’) enjoys a steady presence on the modern concert circuit. Re is weak in aroha, and Tanarang links the shuddha Dha vadi to “the enthusiasm and courage of warriors”, giving a pakad of GMND; DDP and uttarang-focused phrases such as Gm(N)DNS; PDPPS; MPDNS. Touches of […]
• Raag Kesari Kalyan •
S-R-G-P-D-N-S Kesari Kalyan is formed by removing Kalyan’s most characteristic swara – tivra Ma – leaving a curious shadav scale (prakriti with Shankara). Legendary Gwalior vocalist and educator Ramashreya Jha ‘Ramrang’ appears to have created the raga: hear his own rendition, and also listen to him discuss it in the context of “two key ideas […]
