S-R-G-m-P-D-nN-S Intimately connected to Indian national identity, Desh gives melodic direction to the famous patriotic anthem Vande Mataram, as well as soundtracking dozens of Rabindrasangeet. Associated with the second quarter of night, renditions tend towards the sweet and amorous, with Deepak Raja noting clear divergence between ‘classicist’ and ‘romanticist’ treatments (the former is confined to […]
• Raag Desh •
• Raag Bihag •
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 Asavari •
S-rR-g-m-P-d-n-S An antique late morning raga, listed in lakshanagranthas as a ragini of Malkauns, Asavari’s modern incarnation comprises two disinct variants: an older, Dhrupad-rooted ‘komal re’ form, and a more recent set of ‘shuddha Re’ interpretations. Both forms of the raga call for complex connective motions and expressive alankar around dha, which some artists tune […]
• 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 Bheem •
S-R-gG-m-P-D-n-S Near-identical to Gaoti, Bheem is sometimes said to be distinguished by its allowance of komal ga in taar saptak (…although I’ve encountered plenty of Gaoti renditions with this characteristic too). Tanarang notes that “in uttarang, komal ni is always rendered [via a] meend from Sa, as a kan-swar like GmP, (S)nS…Similarly in Avroh, ni is […]
• Raag Arun Malhar •
S-R-G-m-P-D-nN-S An ancient Malhar variant, marked out by a DDnPDGPm pakad. As per Rajan Parrikar, “although it finds a mention in [Bhatkhande], no details are forthcoming. There are a couple of other works where the raga is treated, but again only in the sketchiest of terms”. Described as a mix of Bilawal, Gaud Malhar, and […]
• 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 Malgunji •
S-R-gG-m-P-D-n-S Roughly describable as a ‘Khamaj–ang Bageshri with a Rageshri-like shuddha Ga in aroha’, Malgunji is a multicoloured form, beloved by Gwalior vocalists (as well as Maihar sitarist Nikhil Banerjee). Some artists also feature a vivadi of shuddha Ni (often as mDNS, likely indicating the influence of Gara). Tanarang, aiming to evoke a “deep atmosphere”, gives […]
• 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 Devgiri Bilawal •
S-R-G-m-P-D-nN-S A fusion of Bilawal, Kalyan, and Shuddha Kalyan, which either avoids the tivra Ma throughout or relegates it to an ornamental role. Balancing an uttarang-focus with a tendency for melodic development in mandra and madhya saptak, the raga (as per Thakurdas) prioritises Ga and Dha, also using Pa as a nyas – with komal […]
• Raag Des Malhar •
S-R-G-m-P-D-nN-S A well-established fusion of the pastoral-themed Desh and the rain-bringing Malhar, spanning the full swara sets of both via characteristic movements such as RmP, PNSRmGR; mPnDP, PNS. Steadily popular with both instrumentalists (e.g. Ali Akbar Khan’s many renditions) and singers (e.g. the Bodas clan’s duets). Dinkar Kaikini’s daughter Aditi Upadhya recounts the inspiration behind the […]
• Raag Deepak •
(S-R-G-m-P-D-nN-S) Strictly speaking, Deepak is a ‘lost raga’, known to us through its status as Tansen’s fabled fire-bringing melody – said to have set off uncontrollable blazes when he sung it with full force at Emperor Akbar’s royal palace (…and requiring Megh to extinguish it). But, while its original swaras have been lost to the […]
• 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 Champak •
S-R-G-m-P-D-nN-S A seldom-heard neighbour of Khambavati, distinguished (often very subtly) by stronger use of shuddha ma, and sometimes involving a Gm\S catchphrase. Both ni swaras are used, with the komal introduced via vakra avroh motions (e.g. SRn). Named after a huge evergreen tree species with fragrant yellow-orange flowers, used in perfumery and featured in many […]
• Raag Bihagda •
S-R-G-m-P-D-nN-S A Khamaj-seasoned Bihag variant with historic connections to the Carnatic Behag, which appears in several overlapping variants. Raja notes that the raga’s main ‘double-Ni’ form (indistinguishable from some interpretations of Khokar) is associated with Jaipur-Atrauli vocalists, who apply a pakad of Gm PDnDP, GmG PmPG, and limit Bihag’s tivra Ma to swift ornamental movements […]
• Raag Alhaiya Bilawal •
S-R-G-m-P-D-nN-S While essentially summarisable as ‘Bilawal plus komal ni’, Alhaiya also presents other quirks. Most distinctively, Dha is treated as the vadi, but not as a nyas (Pa and Ga are used as stopping tones instead, often being reached via meend). Dha is also used to support komal ni via ‘up-and-down’ phrases such as SNDP, […]
• Raag Bihagara •
S-R-G-m-P-D-nN-S A variant of Bihag popular in Kirtan and other Sikh devotional styles, used as the basis for compositions by great Gurus including Ram Das and Tegh Bahadur (some refer to the raga as ‘Punjabi Bihag’). As per Jawaddi Taksal, “Bihagara is very melodious, and brings out pangs of separation which can be removed by…becoming […]
• Raag Bahaduri Todi •
S-rR-g-m-P-d-n-S Described by Parrikar as “an exceedingly beautiful raga, known for aesthetic unity in spite of its convoluted structure…the disparate constituents are tied together by special sancharis, and the intonation is mediated by meends”. He cites two distinct versions of the raga in modern circulation (neither of which appear to be linked to the Carnatic […]
• Raag Rageshri Kanada •
S-R-gG-m-P-D-n-S A seldom-heard Rageshri variant which incorporates Kanada-flavoured poorvang phrases. The only full-length recording I was able to find is a fascinating 1960 album rendition by Dhrupad vocal legend Rahimuddin Khan Dagar (Ganga Jata Shiv: transcribed below), which incorporates shuddha Re and komal ga in curious adjacent movements such as SR(Gg)G, G(g)R. Intriguingly, the komal […]
• 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 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 Gaud Malhar •
S-R-G-m-P-D-nN-S A blend of Shuddha Malhar and the now-extinct Gaud, which finds mention in Shrikantha’s 16th-century Rasakaumudi treatise. Parrikar’s analysis highlights the “strong, glowing ma”, which lies between a Gaud-like poorvang (SRGm, mGm, Pm) and uttarang phrases from Shuddha Malhar (mP(S\)DS) and Bilawal (PPNDNS). Other Malharic material includes m(m\)R; (m\)RP, although some argue for the exclusion of […]
• Raag Gandhari •
S-rR-g-m-P-d-n-S Described by Parrikar as “an Asavariant of ancient vintage, [with] no consensus regarding its contemporary swarupa”, the modern Gandhari usually appears in double-Re form – although some variants also employ double-Ga and/or double-Dha. Many renditions follow a ‘Jaunpuri-plus’ framework, seasoning this raga with komal re in concluding phrases (e.g. nPndPmg, grgrS). Sometimes known as […]
• Raag Sorath •
S-R-G-m-P-D-nN-S A Khamaj-flavoured night raga which enjoys perennial popularity in Sikh traditions: as per Jawaddi Taksal, Sorath is “a simple and sweet raga: but it will be appealing only when the soul seeks the Lord’s name. By singing glorious praises, lifelessness does not come” – and, in the words of another Sikh writer: “Sorath conveys […]
• Raag Shukla Bilawal •
S-R-G-m-P-D-nN-S A traditional Bilawal prakar, marked out by phrase patterns such as SGGm, GmPm and a general focus on shuddha ma, also integrating movements from the Malhar, Kedar, and Khamaj families. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s detailed demo breakdown describes it as “a complex raga, with major phrases of Gaud Malhar [e.g. GGm; mRRP, mPDPGPm; GGm; mPmG, […]
• 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 Neelambari •
S-R-gG-m-P-D-n-S A blend of the allied Kafi and Sindhura, brought into being by revered Gwalior vocalist Omkarnath Thakur some time prior to 1936 (n.b. it bears no discernible connections to the Carnatic raga of the same name). Parrikar points to “two special pathos-imbuing prayogas: the melodic molecule DngR, and the chromatic avroh slide from shuddha […]
• 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 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 Kukubh Bilawal •
S-R-G-m-P-D-nN-S A Bilawal variant seasoned with poorvang shades of Jhinjhoti and Jaijaiwanti, which enjoys a notable presence in the Jaipur-Atrauli gharana. Shuddha Re typically takes centre stage, often ornamented from above as (G)R. Distinguishing phrases include SNS(G)R, GRGPmG, mGRGS(G)R, with most other movements falling into the framework of Alhaiya Bilawal (although the Agra interpretation tends […]
• 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 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 Tilak Malhar •
S-R-G-m-P-D-nN-S A presumed blend of Miyan ki Malhar and Tilak Kamod, mentioned in Geeta Banerjee’s Malhar Darshan but only recorded by a handful of artists. Ramrang’s interpretation showcases the Malhar family’s mid-scale mRP phrase, whereas Kishori Amonkar gives more weight to its nDNS turnaround (n.b. it is unknown whether her self-composed ‘Tilak Malhar’ bandish has […]
