S-R-g-m-P-D-N-S Derived from the Dhanashree family, Patdeep somewhat resembles a ‘shuddha Ni Bhimpalasi’: ascending pentatonically before revealing Re and Dha in descent (and thus mirroring the Melodic Minor). Its distinctive interval structure, featuring a run of adjacent whole-tone jumps (gmPDN), can be rotated via murchana to form Charukeshi, Vachaspati, and Ahiri. • Raga Megalist (365+) • […]
• Raag Patdeep •
• Raag Jhinjhoti •
S-R-G-m-P-D-n-S A staple of thumri, tappa, and other light-classical styles, Jhinjhoti is a hearty raga of the late evening and early night hours. Particularly beloved by instrumentalists, it is a favourite of Hindu weddings and other celebratory gatherings, offering a reassuring familiarity via balancing Durga-like ascending phrases with a special treatment of shuddha Ga in […]
• Raag Durga •
S-R-m-P-D-S Beguiling in its pentatonic simplicity, Durga (‘invincible, impassable’) is inextricably tied to visions of the Mother Goddess: depicted in Hindu lore as a destroyer of demons and protector of the faithful. Despite these ancient associations, the raga is of relatively recent Carnatic import, only gaining broad acceptance among Northern rasikas around the mid-20th century. […]
• Raag Sehera •
S-R-G-M-d-n-S Among the strangest of raga scales, Sehera’s six swaras are all spaced out in two-semitone jumps (akin to the Western Whole-Tone scale and the Carnatic Gopriya). The resulting symmetries summon a curious, centreless mood (also famous as the ‘dream sequence‘ of countless soundtracks) – best explored by sarangiya Sultan Khan, who described Sehera as “the […]
• Raag Gaoti •
S-R-G-m-P-D-n-S Sarodiya Rahul Bhattacharya describes the late-afternoon Gaoti as “an underutilised gem…a pleasant, fulfilled feeling…like enjoying a perfume without actually knowing why it’s so nice”. Also known as ‘Gawati’, the raga is often considered near-identical to Bheem (although strictly speaking, Bheem can be distinguished by its occasional use of komal ga in taar saptak). Straightforward audav […]
• Raag Zila Kafi •
S-R-gG-m-P-D-nN-S A springtime raga described by Satyaki Dutta as “a flow of a thousand feelings…the advent of new beginnings, painted with gleaming colours and shimmering joy”. Its Zila component places greater emphasis on the double-Ga, while the rest of the raga tends to fit into the thumri-allied Mishra Kafi framework. Almost all recordings are on either […]
• 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 Simhendra Madhyamam •
S-R-g-M-P-d-N-S Borrowed from a South Indian ragam (melakarta scale #57), Simhendra Madhyamam takes the form of a ‘Kirwani tivra Ma’, ‘Todi shuddha Re’, or ‘Madhuvanti komal Dha’. Despite the popularity of its Carnatic congruent (hailed by Charulatha Mani as “regal, meditative, bold, and striking”), the raga remains relatively rare in the North – with its […]
• Raag Shuddha Malhar •
S-R-m-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Lalith J. Rao (1994)— [refrain, e.g. 0:36] m\RR PP S\DD (D)SRS, SDP, m\RR PP S\DD (D)SRS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 […]
• Raag Ramdasi Malhar •
S-R-gG-m-P-D-nN-S A diverse sankirna raga, fabled as a creation of Guru Ram Das – a 16th-century Sikh saint said to have opened Emperor Akbar’s eyes to the unity of the divine (“these jagirs [feudal land grants] are sources of evil passions, pride, and ego…it is by the name of God that all creatures, continents, worlds, […]
• Raag Rageshri Bahar •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —V.R. Athavale (1988)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Rageshri •
S-R-G-m-D-n-S Working along the lines of a ‘shuddha Ga Bageshri with shades of Khamaj’, Rageshri enjoys popularity among vocalists and instrumentalists alike. Like Bageshri, Re is often weak in ascent, and the ma–Dha sangati is strong – while (unlike Bageshri) Pa is varjit throughout, bringing consistent prominence to the shuddha ma (which is often used to […]
• Raag Patdeepaki •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ashwini Bhide-Deshpande (2020)— [bandish, e.g. 4:23] S(NS)mg (RS)R NS, S, (N)SS (N)SS, NS(gRgRSRSNS)N (D)NS (NS), PN(N)S S; SS G(m)m, mm(GmG) P(GmGmRmG)G, GGm(G)g/m (R)S, NRSN(SPNS), PN(N)S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more […]
• Raag Khambavati •
S-R-G-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kesarbai Kerkar (~1950s)— [swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Khamaj •
S-R-G-m-P-D-n-S Among the most popular light-classical ragas, Khamaj’s core form matches the ultra-versatile Mixolydian Mode of Western music. Despite being chosen by Bhatkhande as the titular raga of Khamaj thaat, renditions will usually draw on melodic combinations from outside these main seven swaras. Jairazbhoy discusses the evolution of these ‘mishra‘ features as a natural outgrowth […]
• Raag Kambhoji •
S-R-G-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Wasifuddin Dagar (2009)— [refrain, e.g. 0:56] GG, G(mGm)R, SS SGR(GR)G, G(m)R, SSS, SRS\n(Dn), P/S, S(n) S(nSDnD), P(DnD), (S)DD D, (n)D DnDP, DP SD/S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• Raag Kalashri •
S-R-G-m-P-D-n-S Introduced by Kirana legend Bhimsen Joshi by combining Kalavati and Rageshri to span the full seven swaras of Khamaj thaat. His renditions draw mostly from the former raga, setting a strong Pa and recurring GPD movements in an audav aroha, with Rageshri’s imprint mainly evident in the vakra avroh phrase GmRnS (which helps to […]
• Raag Jayant Malhar •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2018)— [motifs, e.g. 3:50] RGmG(R), GRG, G mG(R), G(R), G(RGR), RPm\R m(gmg), m(gPmgm) R(SNSN)R, S(NR)mRP, P(mP)n m(R) m\g R(g)mRS, RGmG(R)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• Raag Jaldhar Kedar •
S-R-m-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —K.G. Ginde (1985)— [refrain, e.g. 1:31] SSRS, DP mP, SSRS, (S)DP, (D)mP, SSRS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | […]
• Raag Jaijaiwanti Nat •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bhimsen Joshi (1997)— [refrain, e.g. 2:07] (S)G mGR, (GR)G RS, PNR(NP), (S)G\R (GR)S, S/G, G(mG)G/m GR (GR)S, (S)G\R, R… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): […]
• Raag Jaijaiwanti •
S-R-gG-m-P-D-nN-S A much-beloved but highly intricate raga, featuring both variants of Ga and Ni. Dhrupadyas hold NSDNR as the essential pakad (with some bemoaning the loss of the “slow glide from Ga to Re…as the distinguishing feature of Jaijaiwanti”) – while modern performers tend to ‘enclose’ the komal ga in the avroh phrase RgR, preferring […]
• Raag Gara •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ravi Shankar (2001)— [refrain, e.g. 1:12] (SNS)N S(mR) R(mgmgRgRS), (RS)R SS(RS), (nDP)DP (PD)PD N(SN), N(SN), S, (NSR)S (nD)n, R, RR, Rg(Rmg) (R)SS, N(SmRmg), g(RgR), (RSNS)N N(SN), S(mR), R(gRmgRg), (RS)R S(RS), (nD)nD (DPD)PD N(SN), (nD)PDNS NS… • Classifiers • Explore hidden inter-raga […]
• Raag Chatuswari Bhavani •
S-R-m-D-S Distinguished by allowing only four swaras (‘chatu’=four, ‘swara’=tones), Bhavani’s symmetrical shape is akin to a ‘Durga no Pa’. Its intriguing surtar sparsity necessitates a multipolar approach to melodic resolution, tempting a murchana-like refocus towards the triads available from Re (RmD: minor) and ma (mDS: major). Associated with the 20th-century experiments of Gwalior vocalist Narayanrao […]
• 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 – although, as per Darbhanga Dhrupad vocalist Premkumar Mallick, flavours of Bhairav should dominate. Bose gives a vadi–samvadi of ma–Sa, while also mentioning the existence of an alternate ‘double-Dha’ version (thus allowing for the use of every swara position […]
