S-r-g-m-P-d-n-S A hallowed form, Bilaskhani Todi is fabled to have been created by Bilas Khan: son of Tansen, the legendary composer of Emperor Akbar’s 16th-century durbar. On trying to sing Todi at his father’s funeral wake, Bilas found himself so grief-stricken that he mixed up the swaras – however, his panic was allayed on witnessing […]
• Raag Bilaskhani Todi •
• Raag Yaman •
S-R-G-M-P-D-N-S Among the first-learned and most-performed ragas, Yaman’s influence on modern Hindustani music is impossible to overstate. Linked to the early night hours (‘when lanterns are lit’), the disbalancing effects of tivra Ma – the only non-shuddha swara on offer – allow for a kaleidoscopic emotional range, with Sa and Pa often being skipped in […]
• Raag Tilak Kamod •
S-R-G-m-P-D-N-S Mirroring the tones of the Western Major Scale, Tilak Kamod’s seven swaras offer robust melodic flexibility across a range of sentiments (“heroic courage, philosophic poise, devotional contentment, suggestive eroticism…”). Some trace the raga’s origin to Pyar Khan, a rabab-playing descendent of Tansen via his son Bilas Khan, who is said to have picked it […]
• Raag Kaunsi Kanada •
S-R-g-m-P-d-n-S Kaunsi Kanada is often oversimplified as a blend of two ragas: ‘Malkauns (or Pancham Malkauns) on the way up, and Darbari on the way down’. But, as ever, the whole is far more than the sum of these parts, with multiple facets of both ragas interacting to offer labyrinthine moods – described by Senia-Shahjahanpur […]
• Raag Kafi •
S-R-g-m-P-D-n-S Perhaps more like a compendium of interlinked folk tunes than a ‘formally codified’ raga framework, Kafi offers expansive freedoms. Typically appearing in mishra (‘mixed’) form, its free-roaming melodies may borrow from affiliated ragas as well as drawing on a wide range of light-classical styles such as thumri, bhajan, dadra, and ghazal. Lyrical material has […]
• 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, its Khamaj-congruent swaras are a firm favourite at Indian weddings and other celebratory gatherings, offering a reassuring familiarity via balancing Durga-like ascending phrases with a special treatment of […]
• Raag Darbari •
S-R-g-m-P-d-n-S Darbari has been described as “the Emperor of Ragas, and the Raga of Emperors”. Its majestic tones famously echoed across the marble floors of Mughal palaces in centuries past, bringing solemn relief to kings, warlords, and diplomats alike. Consequently, modern renditions tend to retain a grave, reverential patience, pairing pakad of dnP & gmR amidst […]
• Raag Bhimpalasi •
S-R-g-m-P-D-n-S Associated with the invigorating warmth of the late afternoon sun, Bhimpalasi evokes multiple shades of shringara (‘romantic love, erotic desire’). Thought to have arisen from an archaic union between Bheem and the now-extinct Palas, the raga calls for direct, passionate melodic outpourings, balancing a deft pentatonic ascent (nSgmPnS: prakriti with Dhani) against the symmetry-inducing […]
• Raag Bhairavi •
S-r-g-m-P-d-n-S Probably the most prominent raga in the entire Hindustani canon, the dawn Bhairavi (‘awe, terror’: named after the Fifth Avatar of Mahadevi, the Mother Goddess) is a concert-closing staple. Unique in its chromatic flexibilities, the raga’s ‘Mishra Bhairavi’ form can span the full swara spectrum, allowing for a multitude of moods in the hands […]
• Raag Bilawal •
S-R-G-m-P-D-N-S Approximates the Western Major Scale, thus taking an ‘all-shuddha’ sampurna swara set – and selected by the great V.N. Bhatkhande as the titular raga of Bilawal thaat – although its popularity has declined in the century since (partly in favour of prakritis such as Tilak Kamod and Bihari). Dha and Ga assume vital roles […]
• Raag Nat (Shuddha) •
S-R-G-m-P-D-N-S Described by Parrikar as “singular for its unabashed promiscuity”, Nat is perennially popular as a jod ingredient (see Nat Bihag, Nat Bhairav, Nat Kamod, Chayanat, and Jaijaiwanti Nat). The raga has likely origins in the age before Hindustani and Carnatic music’s bifurcation (while seemingly being unrelated to the Southern ‘Nata’), although renditions of its […]
• Raag Dhanashree •
S-R-g-m-P-D-n-S Dhanashree is a multivariate raga of ancient vintage (listed in Medieval lakshanagranthas as a ragini of Malkauns), which arrives in several present-day forms – usually matching the swaras of Kafi (SRgmPDnS), Khamaj double-Ni (SRGmPDnNS), Bhairavi (SrgmPdnS), Bilawal (SRGmPDNS), or Patdeep (SRgmPDNS). Characteristic motions tend to retain similar ‘generic’ movement patterns, mapping them to the […]
• Raag Khambavati •
S-R-G-m-P-D-n-S A loose mixture involving Jhinjhoti, Khamaj, and Mand, with different renditions emphasising varied facets of these ragas. The movements of the former tend to predominate: as per Deepak Raja, “normally performed in slow or medium tempo, with low to medium melodic density…an instant identification of Khambavati, as distinct from Jhinjhoti, requires consummate musicianship. This […]
• Raag Darjeeling •
S-r-g-m-P-d-n-S Unveiled by sitarist Niladri Kumar in a 2014 Taj Mahal tea commercial, launching a new Darjeeling-themed range described in marketing materials as “definitely our most premium offering” (Niladri: “I have composed [it] in honour of the superlative flavour”). Status as a ‘real raga’ (rather than just a Mishra Bhairavi) is highly dubious – and […]
• Raag Meladalan •
S-r-g-mM-d-n-S A truly oddball creation I stumbled upon in Subbha Rao’s 1965 Raga Nidhi Vol. 3: “Meladalan and ‘Thatavidhwamasa’ are pseudo-names which Acharya Brahaspati…has given to a raga the identity of which [he] wants to keep unpublished for certain reasons. He points out, however, that it is an ancient raga which he wants to bring […]
• 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 Shahana •
S-R-g-m-P-D-n-S A late night raga, Shahana (literally: ‘Of Royal Demeanour’) is a close cousin of the more famous Bageshri, sharing the same swara set but focusing more on the use of shuddha Dha as a melodic endpoint – as well as a stronger and more consistent role for Pa. Usually classed as a member of the […]
• Raag Mudriki Kanada •
S-R-g-m-P-D-n-S Described by Rajan Parrikar as “an uncommon Kanada variety, on which there prevails no consensus”. Basing his analysis of Ramrang’s renditions, he considers the raga to be formed via “introducing a shuddha Dhaivat into the Adana stream…[although] the Agra-Atrauli edition comes in a different flavour, involving a recurring phrase of RmRP” (evident in Sharafat […]
• Raag Jaunpuri •
S-R-g-m-P-d-n-S Jaunpuri is a late morning raga, likely originating in the Sultanate-era music of Jaunpur in Uttar Pradesh (as per Subodh Agrawal: “The rulers of Jaunpur were keen patrons of the arts, and the last one – Sultan Hussain Sharqi – was himself a distinguished musician; it is probable that the Jaunpuri flavor of Asavari […]
• 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 (some say Bheem can be distinguished by its occasional use of komal ga in taar saptak, although this is […]
• Raag Gagan Vihang •
S-R-G-m-P-D-N-S As per Ocean of Ragas, Gagan Vihang (Sanskrit: ‘Birds of Heaven’) “was composed by Pandit Dinkar Kaikini…we find features of Bihag, Savani, Nand, and Mand, although the raga maintains its independent melody [via] unique phrases such as SRPGm, GmRS, NDmP” – while others also point to the influence of Shankara. The Agra khayal innovator […]
• Raag Dagori •
S-R-G-m-P-D-N-S Dagori draws from Bilawal thaat, featuring prominent use of shuddha Ni and characteristic slides and glides between ma and Re. Seemingly invented by Jaipur-Atrauli gharana founder Alladiya Khan (and still near-exclusively performed by the khayal singers of that tradition), some seem to classify the raga as a Bilawal–ang interpretation of the now-lost Deepak (Tansen’s […]
• Raag Adana •
S-R-g-m-P-d-n-S Though prakriti with Darbari, Adana favours a ‘lighter, flittering’ treatment: often summoned via skipping ga in aroha, limiting ornaments on komal dha, and focusing more on madhya and taar saptak (exemplified in sarodiya Budhaditya Mukherjee‘s concise rendition: gat transcribed below). Ga is reintroduced via the gmRS Kanada signature in avroh – and some artists may […]
• Raag Shuddha Kalyan •
S-R-G-M-P-D-N-S A popular early night raga, Shuddha Kalyan ascends with the same 5 swaras as Bhupali (SRGPDS), and descends with the full 7 of Yaman (SNDPMGRS), leading some to title it ‘Bhoop-Kalyan’. Phrases tend to end on the poorvang-slanted Sa, Re, Ga, or Pa – and both the ‘avroh-only’ swaras (Ni & Ma) must be treated subtly […]
• Raag Swanandi •
S-R-G-m-P-D-N-S Fashioned by Agra vocalist Jagannathbuwa Purohit ‘Gunidas’ (also the creator of Jogkauns and Jaun Bhairav), fusing material from Bhatiyar, Bihag, and Bhinna Shadja into an engrossing new whole. Bhatiyar forms the main base, with its phrases being reworked to match the swaras of Bilawal thaat (e.g. PGRS; SD NDP, PDPm), with Bhinna Shadja contributing […]
• Raag Sampurna Malkauns •
S-R-g-m-P-d-n-S More of an umbrella term for assorted ‘sampurna-modified Malkauns’ renditions than a specific form (i.e. with Re and Pa added, thus completing the sapta swara). As per Deepak Raja: “Amongst the various manifestations of the concept, the most celebrated is that of Kesarbai Kerkar…[which] uses 9 swaras [SRgGmPdDnS] instead of the minimum 7. Its […]
• 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 Hem Bihag •
S-R-G-m-P-D-N-S Often cited as an invention of Ravi Shankar, Hem Bihag was in fact devised by his teacher Allauddin Khan – as noted by Shankar & Ali Akbar Khan when they chose it to open a tribute concert just a few weeks on from their guru’s 1972 death, at the reputed age of 110 (below: […]
• Raag Chaya Malhar •
S-R-G-m-P-D-N-S Profiled by Parrikar as “a compound melody formed by joining elements of Chaya to the Malhar raganga signature [mRm\RP]…The nyas on Pa is important, but an inapposite nyas on Re or undue brightening of ma may tilt the development towards Nat Malhar”. Listen to his Gwalior guru Ramrang’s rendition, seasoned with a particularly prominent […]
• Raag Desi •
S-R-g-m-P-D-n-S Desi (not to be confused with Desh) is a diffuse raga lineage, spanning several intertwined variants. Generally prakriti with Kafi, it may also follow the komal dha swara set of Asavari, as well as arriving in double-Dha form (Parrikar also discusses a rare double-Re variant known as ‘Utari Desi / Komal Desi’, likely connected […]
• Raag Bihari •
S-R-G-m-P-D-N-S Connected to historic folk tunes of the Bihar region, Bihari is popular as a setting for thumri and other romantic song styles. Its core movements lie close to Tilak Kamod, also drawing on Shuddha Nat, and sometimes featuring mishra flourishes. Kishori Amonkar’s rendition is my personal favourite (bandish: “Sleep will not come to my […]
• Raag Savani •
S-R-G-m-P-D-N-S An evening raga, which, despite its regular titling of ‘Savani Kalyan’, usually lies closer to Bihag than the Kalyan family – chiefly via avoiding tivra Ma, and giving greater strength to the Sa–Pa sangati. In the raga’s main incarnation, Dha and Ni are often rendered durbal, and may be skipped via PSP turnarounds (although […]
• Raag Raisa Kanada •
S-R-g-m-P-D-n-S Despite regional variances, Raisa Kanada is generally considered to be distinguished by an idiosyncratic sequence involving shuddha Dha – given by Ramrang as nDPDPmP. Most interpretations fall close to Shahana (the two names have similar meaning: shahana: ‘of royal demeanour’, ‘raisa’: ‘rich, noble-born’) – with some also linking the raga to Nayaki Kanada, Kafi, […]
• Raag Mand •
S-R-G-m-P-D-N-S Arising from the festive folk tunes of Rajasthan, Mand (not to be confused with Nand) is a multifaceted raga form, popular in light-classical settings. Generally based around a Bilawal swara set, some artists also add komal ga, komal dha, and tivra Ma among other mishra touches – setting them in heavily-ornamented vakra movements (e.g. […]
• Raag Kambhoji •
S-R-G-m-P-D-n-S Sometimes summarised as ‘Dhrupad Jhinjhoti’, Kambhoji also invites shades of Kalavati via omitting ma in upward motions (Parrikar: GPD; PD; GPDnD; nDS). The raga’s history stretches back to pre-Medieval times: listed as a derivative of Shree in Narada’s 8th-century Sangita Makaranda, and as a spouse of Nat-Narayani in Pundarika Vittala’s 16th-century works (n.b. some speculate […]
• Raag Sakh •
S-R-G-m-P-D-n-S Despite their historic renown, the Sakh family is seldom-heard in the modern era. While nomenclature varies, the ‘main’ Sakh raga is generally held to be a Khamaj–prakriti form, with mood and movements proximate to Rageshri and Gaoti – evident in Patiala pair Amanat & Fateh Ali Khan’s soothing ma-focused rendition, built around characteristic phrases […]
• Raag Jungala •
S-R-g-m-P-d-n-S A rare folk-derived form associated with Hafiz Ali Khan’s Senia-Bangash sarod lineage, often titled ‘Pilu Jungala’ – although Khan’s original renditions seem to lie closer to Darbari and Adana, including a SdnSRg(m) launch phrase and vakra (m)gmRS concluding motions. Further information is scant, although his son Amjad has expanded on the same concept in […]
• Raag Manjari Bihag •
S-R-G-m-P-D-N-S Produced via a chalan bheda of Bihag, Manjari Bihag also lies close to Pat Bihag, typically differing from both these forms via the exclusion of tivra Ma. Most prominently recorded by Aslam Khan ‘Khusrang’: his 1989 album rendition (bandish: Sohat Kanha & Sughara Banara More Ghar Aaye) gives centre stage to a strong Ni […]
• Raag Hemant •
S-R-G-m-P-D-N-S Described by Deepak Raja as “amongst the most charming melodic entities to have gained currency in the last 50 years”, Hemant’s creation is often credited to Ravi Shankar, who began performing it from the 1940s onwards (some say it featured in his very first concert) – however it more likely originated with his guru […]
• Raag Maluha (Kalyan) •
S-R-G-m-P-D-N-S Maluha (‘tearful’) is compound raga which draws on Kamod and Shyam Kalyan. Tivra Ma and komal ni are mostly restricted to ornamental use (e.g. GP(MDPM)P), and the avroh may feature touches of Khem Kalyan and other proximate forms. Most prominently performed by Nikhil Banerjee: e.g. a 1975 NCPA concert and a filmed show from […]
• Raag Hussaini Kanada •
S-R-g-m-P-D-n-S Cited by Aarshin Karande as a creation of Hussain Shah, the last Emperor of Jaipur’s Sharqi Dynasty (1458-1505) – who found time for musical innovation amidst the perpetual strains of his violent, invasion-laden reign (also see Jungala). Karande considers Hussaini Kanada to be a blend of Nayaki Kanada and Shuddha Bahar (“this raga uniquely […]
