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 Tilang •
S-G-m-P-nN-S A folk-derived Khamaj raga featuring distinctive double-Ni interplay, seemingly of ancient Southern origin (Bor: “Tilang probably originated in Telangana, and may have been introduced to the North by an unknown 15th-to-16th-century poet-composer“). Dha is varjit, and shuddha Re is typically omitted too (although some may occasionally include it swara in taar saptak). Parrikar suggests […]
• Raag Alhaiya Bilawal •
S-R-G-m-P-D-nN-S Essentially summarisable as ‘Bilawal plus komal ni’, the ‘Alhaiya’ variant exemplifies the core traits of the Bilawal raganga. 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 […]
• Raag Gaud Malhar •
S-R-G-m-P-D-nN-S An ancient blend of Shuddha Malhar and the now-dormant Gaud, also seasoned with shades of Alhaiya Bilawal, which finds mention in medieval works such as Shrikantha’s Rasakaumudi treatise (published circa 1575). Parrikar highlights the “strong, glowing ma”, which serves to join a Gaud-like poorvang (SRGm, mGmPm) to uttarang phrases from Shuddha Malhar (mP(S)DS) and […]
• Raag Ramkali •
S-r-G-mM-P-d-nN-S Resembling ‘Bhairav with touches of tivra Ma and komal ni in avroh’, Ramkali is an early morning raga, often associated with Sikh saintly traditions – with one author recounting that “the emotions in Ramkali are like those of a wise teacher disciplining their student, who is aware of the pain of learning” (although classical ragmala paintings commonly […]
• Raag Kabiri Bhairav •
S-r-G-m-P-dD-nN-S Anuraag Dhoundeyal, writing in Swarajya magazine, considers Kabiri Bhairav to express “the angst of mystic experiences” (the ‘Kabir’ of the title refers to the famous 14th-century poet-mystic, highly influential on Sikh scriptures as well as the Hindu Bhakti movement through his radical critiques of organised religion). The raga’s poorvang matches with Bhairav (SrGm), however […]
• 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 myths […]
• 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 Deepak •
(S-R-G-m-P-D-nN-S) Strictly speaking, Deepak is a ‘lost raga’, chiefly known to us through its status as Tansen’s fabled fire-bringing melody – said to have sparked uncontrollable blazes when he sung it at Emperor Akbar’s 16th-century durbar (…and requiring a special rendition of Megh to extinguish it). The raga appears in numerous ragmala paintings, and has […]
• Raag Medhavi •
S-R-G-mM-P-D-nN-S Medhavi is generally cited as an invention of Ali Akbar Khan, who seems to be the sole source of recordings – however the liner notes to his most prominent rendition make no direct mention of this, instead describing it as “a compound melody of recent origin…its features [vary] according to traditional modes”, adding that […]
• Raag Manj Khamaj •
S-R-G-mM-P-D-nN-S A ‘double-Ma, double-Ni’ offshoot of the Khamaj raganga, with origins in the Maihar lineage of Allauddin Khan (as per the liner notes to his grandson Dhyanesh’s rendition: “Originally a folk melody of Uttar Pradesh, which assumed its present shape under Allauddin Khan…rendered in a lighter vein, and full of erotic sentiments”). Famously showcased by […]
• Raag Chaya •
S-R-G-mM-P-D-nN-S Despite its long history, Chaya (also called Shuddha Chaya) is now largely overshadowed by its compounds, chiefly including Chayanat. According to sarodiya Rahul Bhattacharya, the raga is “in many aspects a more restrained version of Chayanat”, chiefly distinguished by its poorvang-dominance and weaker treatment of komal ni – although Deepak Raja notes that “even […]
• Raag Rati Bhairav •
S-r-G-m-P-dD-nN-S An idiosyncratic ‘double-Dha’ invention of vocalist Kumar Gandharva (also the creator of Bhavmat Bhairav, Bihad Bhairav, Saheli Todi, Lagan Gandhar, & Madhusurja), which blends Bhairav with Ahir Bhairav. As per Milap Rane, “Rati Bhairav is a jod raga, [with] Ahir Bhairav overshadowing Bhairav…This raga symbolises the union of Shiva [Bhairav] and Shakti [Ahir Bhairav]. […]
• Raag Gaurimanjari •
S-rR-G-mM-P-d-nN-S An intricate ten-toned raga created by Ali Akbar Khan via blending ideas from across the Lalit–Gauri spectrum (Gaurimanjari: ‘Bouquet of Gauris’) – notable for its winding melodic motions and dense, crowded swara-space (some renditions employ all swaras except komal ga). Its core form also possesses the ultra-rare property of rotational symmetry (i.e. the interval […]
• Raag Arun Malhar •
S-R-G-m-P-D-nN-S A rare and ancient Malhar variant, said to be 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 only in the sketchiest of terms”. Described as a mix of […]
• Raag Anand Bhairav •
S-r-G-m-P-D-nN-S A rarely-heard member of the Bhairav raganga, which seems to have no precise prakritis. As per Rajan Parrikar, “the komal dha in Bhairav is replaced by its shuddha counterpart, and the komal ni is parachuted into the scheme in an [avroh phrase] SDnP inspired by Bilawal (in Bhairav-ang ragas where either Re or Dha is rendered shuddha, […]
• Raag Monomanjari •
S-r-G-M-P-D-nN-S A scale with no apparent prakritis unveiled by sitar icon Nikhil Banerjee some time in the 1970s (in his own words: “I’m quite satisfied with one of my Sonodisc LPs, Raag Monomanjari: that’s my favourite so far…”). From Narendra Datar’s 1989 review of this record: “A jod raga…a remarkable combination of Kalavati and Marwa. […]
• Raag Madhuradhwani •
S-G-m-D-nN-S As per Parrikar, “Durga Khamaj-thaat is also known as ‘Madhuradhwani’. This is not a popular raga, its base eroded by the popularity of Rageshri…but is part of the Dagar family repertoire”. While some renditions will skip Ni in ascent, traditional Dhrupad presentations will render it shuddha in aroha and komal in avroh – along with […]
• 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 tale behind the […]
• Raag Chandni Bihag •
S-G-mM-P-D-nN-S Chandni Bihag (‘Moonlit Bihag’) is a speciality of the Rampur khayal gharana which introduces the tense Ma–ni sangati to the basic framework of Bihag, further accentuated by a weak or absent Re – leaving two ‘4-row’ clusters (GmMP & DnNS), arranged symmetrically. Parrikar recounts the “enchanting tonal formulations” of his guru Ramrang’s rendition (passed down by […]
• Raag Bihagda •
S-R-G-m-P-D-nN-S A Khamaj-seasoned Bihag variant with possible connections to the Carnatic Behag, which appears in several overlapping variants. Raja notes that the raga’s main ‘double-Ni’ form (indistinguishable from some types 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 – while […]
• Raag Pancham se Pilu •
S-R-G-mM-P-D-nN-S A murchana rotation of Pilu (literally: ‘Pilu from Pa’) – i.e. if you treat this raga’s Pa as the ‘new Sa’, Pilu is produced (albeit in its somewhat less common ‘komal dha-less‘ form). Pilu’s doubled gG–nN swaras, separated by a perfect 5th, are thus spun into nN–mM (i.e. the murchana’s principal effect is to […]
• Raag Chandni Kedar •
S-R-G-mM-P-D-nN-S A loosely-organised set of Kedar variations, Chandni Kedar (‘Moonlight Kedar’) is formed via minor modifications to its parent raga. As per Parrikar, who recommends a Kesarbai Kerkar mehfil rendition (Eri Ina Naina), “some suggest strengthening the komal ni and shuddha Ga in standard Kedar…others [suggest] Kedar with an added komal ni” – while Ocean […]
• 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 Basanti Kanada •
S-r-G-mM-P-D-nN-S Perhaps the only Kanada raga to give prominence to tivra Ma (which appears in Basant-like poorvang motions such as GMDMG; MGrS), Basanti Kanada is a thinly-analysed form which summons idiosyncratic tensions via a precise mixing of seemingly incongruous elements (e.g. from the bandish below: DmG, GMdM\G, MGrS). Predominantly associated with vocalists of the Jaipur-Atrauli […]
• 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 the […]
• 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, Khamaj, and Kedar families. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s detailed demo breakdown (transcribed in full below) describes it as “a complex raga, with major phrases of Gaud Malhar and Bihagda […]
• Raag Shankara Karan •
S-R-G-M-P-D-nN-S Associated with the crisp mornings of springtime, Shankara Karan is variously said to blend elements of Shankara, Shree, Hindol, and Yaman – although its swara set (‘Yaman double Ni’) is seldom-heard in the Hindustani ragascape (also hear the ultra-rare Guru Kalyan & Kala Kalyan). Recordings are rare, with the most prominent cut being a 1995 […]
• Raag Pancham se Gara •
S-R-G-mM-P-D-nN-S A rotation of Gara (literally: ‘Gara from Pa’) – i.e. if you treat the raga’s Pa as the ‘new Sa’, Gara’s scale is produced (SRGmMPDNS > SRgGmPDNS: although the raga’s creation in fact came via the reverse translation). Most closely associated with murchana master Ravi Shankar, who reworks Gara’s DnSNS uttarang catchphrase into GmPMP (see […]
• 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 Nat Bihag •
S-R-G-mM-P-D-nN-S A Bihag offshoot developed by the Agra gharana, distinguished by the integration of special phrases such as mnDP; PDNS; PDNDP alongside other flourishes from Shuddha Nat (e.g. SR, RG, Gm, mP). Tivra Ma is either avoided or limited to occasional ornamental status (M/P), with komal ni similarly restricted to use as a madhya-saptak kan in […]
• Raag Khokar •
S-G-m-P-D-nN-S A captivating raga with disparate modern strands. In its predominant Jaipur-Atrauli incarnation, Khokar is, according to some, essentially identical to Bihagda, itself a fusion of Bihag and Khamaj (Deepak Raja: “A melodic analysis of the so-called Khokar confirms its identity with Bihagda…[any] distinction remains unsupported by either logic or evidence”). On the other hand, […]
• Raag Saraswati Kedar •
S-R-G-mM-P-D-nN-S A double-Ma, double-Ni raga created by Gwalior vocalist and educator Vishwanath Rao Ringe ‘Tanarang’ (also see Hemshri, Sundarkauns, and Jogeshwari Pancham). Characteristic phrases from Saraswati (RRMMP; MPDnDP; nDS) are intermingled with those of Kedar (MPDNS; PDPm; mGP; SRS; mmRS), with shuddha Ga only used in occasional avroh movements. Also see prakriti ragas including Nat […]
• 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 few artists. After struggling to ascertain the raga’s origins, I was pleased to receive a direct message from guitarist Akshat Sharma in early 2024, informing me that it was devised by his grandfather […]
