S-g-m-P-d-n-S A loose collection of melodic strands which fall under the general banner of ‘Malkauns with Pa in avroh’ (thus sharing conceptual overlap with Kaunsi Kanada and Sampurna Malkauns). Ascents typically stay true to the pentatonic structure of Malkauns, and the Pa is usually rendered in vakra avroh lines (e.g. ndmgmdP or gmdndmP). Beloved by […]
• Raag Pancham Malkauns •
• Raag Malayalam •
S-R-G-m-P-d-n-S A barely-documented morning raga created by Ali Akbar Khan sometime around the 1970s – named in honour of his mother (‘Malaya’) and father (‘Alam’: also the name of Khan’s son, born in 1982) [n.b. the Tamil-derived Dravidian language family of the same title is of a separate etymology, derived from ‘mala+alam’: ‘the land near the […]
• Raag Khat Todi •
S-r-g-mM-P-d-nN-S In Parrikar’s summary, Khat Todi is described as an “uncommon [double-Ma] prakar…mostly sung by Jaipur-Atrauli and Agra musicians. In the main body of Todi, a small phrase of Khat is introduced” (i.e. the raga is more like ‘Todi seasoned with Khat’ rather than a more equitable combo). He cites two different Khat strains used […]
• Raag Jogiya •
S-r-m-P-d-N-S Jogiya (from Sanskrit yogi: ‘State of Union’) is a shadav raga of considerable mystique. Tanarang recounts “a characteristic mood of devotion and detachment…Jogiya has komal re and dha like Bhairav, however they are not oscillated…and shuddha ma is powerful as nyas and vadi”. Generally expandable in madhya and taar saptaks, the raga’s geometries revolve […]
• Raag Gunji Kanada •
S-R-gG-m-P-d-n-S A Gwalior gharana favourite which blends Malgunji and Kaunsi Kanada, principally via inserting the former’s catchphrase of RnSRG, Gm (also found in Dev Gandhar) into the broader framework of the latter – although some sources also cite vital influences from Adana and Bahar (e.g. mDnS). Modern renditions tend to take the komal dha, although a […]
• Raag Gunakri •
S-r-m-P-d-S Taking the swaras of ‘Bhairav no Ga/Ni’, Gunakri – described by AUTRIM as “serious and peaceful” – brings out the character of its parent raga via an oscillating komal re, and movements patterns including Sd, dP and SdSr, rS (although Jairazbhoy prefers to analyse it via the geometries of Basant Mukhari). Bose gives a […]
• Raag Gopika Basant •
S-g-m-P-d-n-S A hexatonic raga of bewitching beauty, Gopika Basant matches the swaras of ‘Asavari no Re’ (or ‘Malkauns add Pa’) – while also inviting shades of Bhairavi from ga upwards. The Sa–ma sangati is strong, and, as noted by Nazir Ali Jairazbhoy, descents can mirror the Malkauns-style scheme of “parallel conjunct tetrachords by oblique use […]
• Raag Devranjani •
S-m-P-d-N-S Stretched by the emptiness of a vast Sa–ma poorvang jump, Devranjani is formed by removing the re and Ga from Bhairav. Abhirang offers up both ‘shuddha Ni’ and ‘double Ni’ variants, with the former appearing to be predominant – while Bhatkhande’s early 20th-century works discuss the importance of the ascending phrase Sm, mP as […]
• Raag Devgandhari Todi •
S-rR-gG-m-P-d-n-S A modification of Dev Gandhar, devised by Agra vocalist S.N. Ratanjankar via the addition of a Todi-like komal re – thus filling the entire Sa-to-ma swara space. Also recorded by his student K.G. Ginde, who extends this hemitonic run (and leans further into Todi’s geometries) by including touches of shuddha Ni, also reworking some […]
• Raag Devata Bhairav •
S-r-gG-m-P-d-N-S A double-Ga Bhairav derivative, introduced by Agra gharana pioneer Azmat Hussain Khan ‘Dilrang’. As per Parrikar, the raga is distinguished from its parent with “the introduction of [an] avroh pragoya via the komal ga [mgrS]”. Some artists include subtle touches of komal ni, including Jitendra Abhisheki – who sings a madhyang-focused bandish (to me, reminiscent of […]
• Raag Chandrakaushiki •
S-R-g-m-P-d-nN-S An invention of Nikhil Banerjee, combining Chandrakauns and Kaushiki. Expanding on a Malkauns base, the Kaunsi Kanada-like shuddha Re opens up a broader array of intervals to and from the twin-Ni positions – with the komal dha playing a similarly vital role below. (n.b. While some online sources refer to the raga as having been “created […]
• Raag Adarangi Todi •
S-r-g-mM-P-d-nN-S A double-ma, double-ni Todi variant linked to 18th-century composer Naimat Khan ‘Sadarang’ and his nephew Feroze Khan ‘Adarang’, who served at the court of Mughal Emperor and prolific arts patron Muhammad Shah. While the raga’s historical lineage remains half-sketched, Ali Akbar Khan took to performing it later in his career. Sometimes given the alternate title […]
• Raag Abheri Todi •
S-rR-gG-m-P-d-n-S Summarised by musicologist and critic Rajan Parrikar as “an obscure [Todi] variant, in which strands of Asavari and Khamaj are tied to the Todi-ang”. His guru Ramrang’s rendition of the raga revolves around phrases such as PmPm\g; mPn\d; SRnS; rnSRG, whereas Srikant Bakre‘s take also visits the shuddha Dha (bandish transcribed in full below) […]
• Raag Reva •
S-r-G-P-d-S A rare pentatonic raga, Reva is often described as the ‘evening counterpart’ to Bibhas (or the ‘jawab to its sawal’), matching this samay designation by taking after the Poorvi–ang rather than Bibhas’ Bhairav-ang roots. Chiefly, its movements are distinguished from Bibhas via poorvang-focused sangatis including Gr; rS; SrrS, along with a greater exploration of […]
• Raag Nandkauns •
S-gG-m-P-d-n-S A poorvang–uttarang blend of Jog and Malkauns (despite the name, there are no traces of Nand). Shuddha ma, as the natural meeting point between both ragas, assumes the most prominence (sometimes hinting at a ma-murchana of SRgmPnNS) – along with frequent use of a highly expressive n\P glide. Remains rare on the concert platform, […]
• Raag Din ki Puriya •
S-r-G-M-d-N-S Din ki Puriya (‘Daytime Puriya’) sets its six swaras to the general phrase patterns of the Puriya–ang, avoiding Pa throughout. The scale’s ‘palindromic hexagon’ places a tight hemitonic cluster (NSr) opposite a wider tone-trio (GMd), also providing an augmented ‘equilateral triangle’ (SGd). Melodic motions remain fairly free, given the lack of any prakriti ragas […]
• Raag Mangal Todi •
S-r-g-mM-P-d-nN-S A variant of Todi, seemingly of ancient origin, involving the addition of shuddha ma via phrases such as Smmd and MdndPmmd. Ram Marathe’s rendition, built around energetic mixing of both Ma and Ni positions, is probably the most prominent interpretation – with Shounak Abhisheki’s 2021 lockdown take building superbly on these ideas, setting bewildering […]
• Raag Mangal Gujari •
S-r-g-M-d-n-S A strange shadav scale matching the swara set of ‘Gujiri Todi komal ni’, ‘Tivrakauns add komal re’, or ‘Meladalan minus shuddha ma’. Its structure presents a unique combination of geometric quirks: Sa is ‘detached’ (=Pa and ma are both varjit), and all other swara positions are vikrit (rgdn: komal, M: tivra) – leaving the […]
• Raag Bangal Bhairav •
S-r-G-m-P-d-S A distinctive Bhairav raganga offshoot with uncertain origins, summarised in oddly poetic fashion by MeetKalakar: “Being Nishad-taboo, its caste is shadav. Dhaivat and Rishabh are used softly…which are respectively the plaintiffs” (n.b. the ultra-rare Meghranjani is the only other ‘shadav Bhairav’ raga I can definitively trace). Performed by only a handful of khayal vocalists […]
• 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 Vardhini •
S-gG-m-P-d-n-S Adapted from Carnatic music’s mela #32 (‘Ragavardhini’: strictly speaking, the Northern form should perhaps be spelled this way too), Vardhini matches the swaras of Nandkauns or ‘Jogkauns komal ni’. Seemingly introduced to the Northern ragascape via the Dagarvani Dhrupad – as per information kindly supplied by Pelva Naik, “Vardhini came into the Dagar gharana, as far […]
• Raag Triveni •
S-r-G-P-d-N-S Taking a hexatonic ‘Shree/Bhairav no ma’ swara set, Triveni’s main incarnation (also known as ‘Tirban/Tirvan’) comprises two congruent swara-clusters – SrG & PdN (both semitonal jumps of ‘1-3’). Melodic motions mostly take after Shree and Bhairav, particularly via a strong re–Pa sangati and G\rS descents – both evident in Shounak Abhisheki’s jhaptal bandish (Kalindi […]
• Raag Tankeshree •
S-r-G-M-P-d-N-S Tankeshree is a seldom-performed Shree–ang raga, which lies closest to the predominant form of Triveni (the same scale minus Ma). Pa is strong and tivra Ma is weak – at least based on the evidence of Omkarnath Thakur’s soaring 1940 rendition (Malan Laaye Chun Chun Kaliyan), which regularly ascends in sparse SGP fashion (also […]
• Raag Paraj Kalingada •
S-r-G-mM-P-d-N-S A seldom-performed jod raga matching the swaras of Poorvi, summarised by Aneesh Pradhan as “a combination of the [springtime] Paraj and Kalingada, [which is] popularly used in the thumri–dadra genres”. Paraj and Kalingada, already being closely-related forms, give rise to a subtle, samay-mixing blend – further seasoned by their respective proximities to Basant and Bhairav. […]
• Raag Gauri Basant •
S-r-G-M-P-d-N-S Introduced by prolific raga creator Kumar Gandharva via fusing Gauri with Basant’s tivra Ma incarnation. His original renditions also prominently showcase a Bhairav-ang G\r slide – but this fragment lacks its usual support from shuddha ma above, instead being followed in the bandish by Basant-like turns such as GPd; PMPG (…this shift is timed […]
• 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 Jungala •
S-R-g-m-P-d-n-S The term ‘Jungala’ (or ‘Jangla’) generally indicates a ‘reworked’ variant of a well-known raga rather than a specific set of swaras – for example Yunus Hussain Khan’s ‘Jangla-Gara‘ restricts Gara‘s melodies to shuddha Ga and Ni only, and Jagdish Prasad’s ‘Jangla-Bhairavi‘ adds a prominent double-Ni to Bhairavi‘s basic shape. Usually associated with folk-derived forms, several […]
• Raag Roopkali •
S-rR-G-mM-P-d-N-S A variation of Ramkali, which is distinguished through a general avoidance of komal ni and sporadic inclusion of shuddha Re. Renditions generally focus on the mid-scale region, with all five specific swaras from shuddha Ga to komal dha available for use (GmMPd). Khadim Hussain Khan’s twisting melodies tend to pair tivra Ma with Pa above, […]
• Raag Paraj •
S-r-G-mM-P-d-N-S A playful sonic form which matches the swara set of Poorvi, with movements roughly akin to a ‘double-Ma Kalingada’ (also see their combination: Paraj Kalingada). Described by Parrikar as “an uttarang-pradhan raga with tonal activity clustered around taar Sa…elongation of Ni in SNdSN is a Paraj signpost, and dha is rendered durbal throughout”, with […]
• Raag Jaitashree •
S-r-G-M-P-d-N-S A sunset raga prominent in the Jaipur-Atrauli gharana, blending Shree with Jait’s komal re incarnation. Some, such as Ulhas Kashalkar, render the aroha ‘triswari’, limiting it to the three swaras of Malashree (SGP), set in Jait Kalyan-style phrases such as SG, GP, PSP – although the avroh is more clustered, often skipping taar Sa […]
• Raag Viyogavarali •
S-r-g-m-d-N-S An invention of Agra vocalist S.N. Ratanjankar, Viyogavarali (or ‘Viyog Varali Todi’) was derived by omitting Pa from the Carnatic Dhenuka (mela #9) – resembling ‘Chandrakauns plus komal re’ or ‘Gujiri Todi shuddha ma’. All swaras except Ni appear in their lowest specific variants, with the use of ga restricted to Todi-ang avroh motions (e.g. […]
• Raag Shiv Manjari •
S-R-G-m-d-n-S A captivating shadav raga created by my own sitar guru-ji Pandit Shivnath Mishra, resembling ‘Charukeshi no Pa’. The only known recording is a brief clip by his sarod student Pat Lambdin, filmed at a 2024 Vermont concert with Amit Kavthekar on fine tabla form (mukhda: dnSRG; GmGRS). [More info to follow…]. Compare to Imratkauns, […]
• Raag Shivanjali •
S-gG-m-P-d-nN-S Despite captivating millions of listeners, Shivanjali is known to the world through a single performance. Conceived by bansuri master Hariprasad Chaurasia as a tribute to his close friend and collaborator Shivkumar Sharma, its lone unveiling came at a whole-night Stuttgart concert in 1995, with Shiv-ji in the audience (‘Shiv-anjali’: ‘Reverences to Shivkumar’). Comments left […]
• Raag Chandraprabha •
S-R-m-d-N-S A magical audav raga matching the scale of ‘Chandrakauns with Re instead of ga’ (or ‘Kirwani no ga/Pa‘, thus allowing for poorvang shades of Sarang. Benares bansuriya Ajay Prasanna cites the raga as a creation of his father Bhola Nath Prasanna, adding that Chandraprabha “celebrates the light and glow of the moon…its serene calmness […]
• Raag Shanmukhpriya •
S-R-g-M-P-d-n-S A strange scale imported from the Carnatic mela #56, equivalent to ‘Darbari tivra Ma’ (or ‘Hemavati komal dha’). Despite its Southern popularity, it is still little-known in the North, with only a few Hindustani artists having explored it in any depth. Among these, Rampur-Sahaswan singer Hafeez Ahmed Khan provides direct insight into its workings […]
• Raag Rishabhapriya •
S-R-G-M-P-d-n-S Already a rare mode in Carnatic music (mela #62), Rishabhapriya has barely been touched by Hindustani musicians. Equivalent to ‘Charukeshi tivra Ma’ or ‘Vachaspati komal dha’, all poorvang swaras are set to their highest specific positions, and all uttarang swaras are at their lowest (SRGM+PdnS: like ‘Yaman’s poorvang + Bhairavi’s uttarang’). The rare Ma–ni sangati […]
• Raag Sarangkauns •
S-R-m-d-n-S A rare audav raga of bewitching beauty, taking the form of ‘Malkauns with shuddha Re instead of ga’. As the name implies, the adoption of Re allows for poorvang shades of Sarang (SRm, mR), set in contrast to distinctive Malkauns turnarounds in uttarang (Snd, dnS). Like both Malkauns and Madhumad Sarang, the scale shape […]
• Raag Bayati •
S-r̃-g̃-m-P-ᵭ-ñ-S A unique experiment by vocalist Dinkar Kaikini, based on adapting an Middle Eastern melodic form known as Maqam-al-Bayati – resulting in highly unusual sruti tunings for re, ga, dha, & ni, all of which are set to ‘quarter-tonal’ shades roughly halfway between komal and shuddha (thus, only Sa, ma, & Pa are left at […]
