S-R-gG-m-P-dD-nN-S A true thumri raga, Pilu’s highly permissive melodic framework functions more like an alliance of amorous folk tunes than a ‘fully codified’ form. While relatively rare on the khayal stage, it enjoys wild popularity across a swathe of semi-classical styles, invoking both variants of Ga, Dha, & Ni to animate love songs and Krishna […]
• Raag Pilu •
• Raag Kafi •
S-R-g-m-P-D-n-S Perhaps more like an compendium of folk tunes than a fully codified raga framework, Kafi offers unusual chromatic freedoms. Almost always appearing in mishra (‘mixed’) form, renditions will often borrow from affiliated ragas as well as semi-classical styles such as thumri, dadra, and ghazal. Lyrical material tends towards the romantic, matched by free-roaming melodies. […]
• Raag Bhairavi •
S-r-g-m-P-d-n-S Probably the most prominent raga in the entire Hindustani canon, Bhairavi (‘awe, terror’: after the Fifth Avatar of the Mother Goddess) is a concert-closing staple. Unique in its chromatic flexibilities, the raga may span the full swara spectrum, allowing for a multitude of moods in the hands of a master. Long linked to the […]
• Raag Pahadi •
S-R-G-P-D-S Said to derive from Bengali or Kashmiri folk tunes, Pahadi (meaning ‘mountain’ or ‘of the hills’) combines the playful with the pensive. While its Bhupali-congruent core form offers a certain sparse simplicity, the raga’s true magic is found in its extensive mishra capabilities – with the tasteful use of virtually any swara being permitted, […]
• Raag Tilang •
S-G-m-P-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shahid Parvez (2020)— [gat, e.g. 6:58] GmP, NS, NSnP, P/n\P, GmG… • 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 | […]
• Raag Shivranjani •
S-R-g-P-D-S A spellbinding scale resembling ‘Bhupali komal ga’ (or ‘Kafi no ma/ni’), Shivranjani’s melodies (described by Kalakar as “plaintive, haunting”) are said to appease the destructive rage of Lord Shiva (also see Malkauns). Tanarang gives essential combinations including SRgP; PDPgR; gRgSR DS, although it may arrive in mishra form – rare for a pentatonic raga […]
• Raag Mand •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Sultan Khan (1991)— [refrain, e.g. 1:04] GP N/SS S, N(SNRS) N\D DP, N(SNDP)DP; GP G/SS S, N(SNR) N\D DP… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): […]
• 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 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 […]
