S-R-G-P-D-S Hailed for its structural simplicity, Bhupali is often the first raga taught to Hindustani students. While the same Major Pentatonic scale form is shared by countless global cultures, India’s incarnation (named for Madhya Pradesh’s Bhopal region) presents its own quirks – invoking tranquillity and home-bound reassurance with interlinked sliding motions and emphatic resolutions. Shares […]
• Raag Bhupali •
• Raag Shankara •
S-R-G-P-D-N-S Long fabled as a favourite of Lord Shiva, Shankara takes its name from an epithet of the deity (Rajan Parrikar: “the musical embodiment of [Shiva’s] personality, comporting with all its attributes: raudra, veera, irascible, volatile, capricious…”). A pre-midnight raga, it ascends with SGPDNS, often in vakra patterns, before adding subtle touches of shuddha Re […]
• Raag Salagavarali •
S-r-g-P-D-n-S A rare ‘Ahiri no ma’ scale, combining a Todi-like poorvang with an Ahir Bhairavic uttarang. As per Rajan Parrikar: “S.N. Ratanjankar conceived of this raga…Ma is eliminated to yield the following contour: SrgPDnDS, SnDPg(P)rgrS. Brilliantly exploited by Jitendra Abisheki in a celebrated natyageeta. Watch out for the injection of a vivadi dosha via tivra Ma”. […]
• 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 Malay Marutam •
S-r-G-P-D-n-S ‘Malay Marutam’ translates as ‘fragrant hill-breeze’. Bansuriya Rupak Kulkarni explained to me in a 2018 interview how the raga “is from Carnatic music, which does not give so much attention to the times of day. We have decided to designate it as a morning raag, mainly due to the nature and essence of its […]
• Raag Hansadhwani •
S-R-G-P-N-S Hansadhwani translates to ‘call of swans’ – a creature with rich cultural associations in the Subcontinent (Saraswati, goddess of music and learning, is often depicted atop a swan, said to symbolise purity, discernment, and the process of breathing). Originally an import from Carnatic music, the raga’s pentatonic simplicity invites the listener towards the calm […]
• Raag Bairagi Todi •
S-r-g-P-n-S Created by Ravi Shankar, Bairagi Todi replaces Bairagi’s ma with a Todi-intoned ati-komal ga, retaining a concise audav structure while presenting an odd mix of narrow and wide intervals. Often set to unusual talas (Shankar’s original is in Sade-Gyarah, an 11.5-matra cycle divided as ‘4-4-2-1.5’), the raga is explorable in all octaves, with most artists […]
• Raag Bhupali Todi •
S-r-g-P-d-S A captivating audav raga said to symbolise spiritual purity, which essentially runs along the lines of ‘what if all Bhupali‘s chal swaras were set as komal rather than shuddha?’ (SRGPDS > SrgPdS). Most renditions are poorvang-dominant, drawing from the Todi-ang as well as reshaping phrases from Bhupali, Bilaskhani Todi, and other allied forms (given the […]
• Raag Triveni •
S-r-G-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shounak Abhisheki (2000)— [bandish, e.g. 3:27] rr, rGrSS r, GrSS rr, GrSS(N)rr, GrSS, rrr rGPG(r), rrr, rGPG(rS), S(NS)P, PPPd P(rS), SP PPPd P, P/S(P) P(GP)d PPGS(N)r, GrSS(N) r, GrSS(N) r… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, […]
• Raag Sundarkali •
S-r-G-P-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Anjani Kumar Gupta (2022)— [alap, e.g. 0:02] (n)S (nSn)P S(nSnSP), P(nP) S(n) rSG r, nSnSr, SnS(nSn)P, nPSn rSGr, PnSGPn(P), P(SnSnP)G, PnSrS, P(nP) n(Sn) S(rS) P(nP) G(PG)r, S(n) PnSr, S(nSn) S, rG (r)… • Classifiers • Explore hidden inter-raga connections: swara geometries, […]
• 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 Saheli Todi •
S-r-g-P-d-n-S An invention of vocalist Kumar Gandharva, lying between Bhupali Todi and Bilaskhani Todi via the addition of an avroh komal ni to the former (or the subtraction of ma from the latter). His original renditions linger patiently on the komal re (intoned with a noticeably higher sruti than usual), and often avoid rising more […]
• Raag Reva •
S-r-G-P-d-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Joydeep Mukherjee (2021)— [sanchari, e.g.1:05] r/m m, m\r r, S S(d) d/S, S d/r r, r(S) (S)d, P P, r/m m, m\r r, S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Manavi •
S-R-g-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Parveen Sultana (1982)— [Swaras] • 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 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Kesari Kalyan •
S-R-G-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Abhijith Shenoy ‘Abhirang’ (2020)— [bandish, e.g. 2:55] S S(GRGRSR)G, (GRG)RS S(RG), G(RSR)S N(DP), N(DND)S, PN SR(GRSRGRS) S(RGR), G(PGPG)PP, PN S(GRGRSNS)S, N(P)P/S(NS)P PG, G(PGP)R, SS(RGPDP)D, P(DPDPGRSR) G(PG), S(GRGRSR)G, RS S(RG), G(RSR)S N(DP), N(DS)… • Classifiers • Explore hidden inter-raga connections: swara geometries, […]
• Raag Jansammohini •
S-R-G-P-D-n-S Broadly running along the lines of ‘Kalavati plus shuddha Re’ (especially in avroh), Jansammohini is a captivating Carnatic import. Explored to powerful effect across vocal and instrumental music, the raga’s robust geometries are capable of housing everything from bhajan (Ashwini Bhide-Deshpande’s Ganesh Vandana) and freewheeling sitar solos (Ravi Shankar’s rhythmic take) to epic, full-length […]
• Raag Jait Kalyan •
S-R-G-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Mallikarjun Mansur (1968)— [refrain, e.g. 0:40] SS S/P(G), SGP(GS)G (P)G P(GD)P, (GS)G RS, (PDP)D, SDP, P/SS, SS S/P(G)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 […]
• Raag Jait •
S-rR-G-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Hariprasad Chaurasia (2010)— [alap, e.g. 5:33] G, G\r, DSr PD, rS(D), S(rSD) S(r)r, m\r, (S)r (S)r, mrS, rG, S(D)D GrGr SrS, DSD PD(SDP), G, PDSrDSr G, SrG, G\rS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, […]
• Raag Deshkar •
S-R-G-P-D-S Typically summarised as ‘the other raga with Bhupali’s swaras’, Deshkar shuffles the same five tones to produce a mood suited more to the morning than evening hours. Taking a vadi-samvadi of Dha–Ga (as opposed to Bhupali’s Ga-Dha), the raga is uttarang-dominant, with a melodic focus on vakra movements in madhya and taar saptaks. Dha […]
• Raag Bibhas •
S-r-G-P-d-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shruti Sadolikar (1992)— [refrain, e.g. 1:07] S (S)G (G)P (P)D, D D\P G\r S; S/r\S, S\D/S(r)S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 […]
• Raag Adbhut Kalyan •
S-R-G-D-N-S An uncommon Kalyan variety, named Adbhut (‘of wonder’) for omitting two of Kalyan’s most vital swaras (Ma & Pa). Remains popular among artists of the Dagarvani Dhrupad, but few others have risen to the centreless challenges of losing both mid-saptak swaras. Aminuddin Dagar reportedly considered the raga to be an offshoot of Khem Kalyan – […]
