S-r-G-m-P-d-N-S Described by Deepak Raja as “difficult to render in its purity”, Gauri is associated with viraha shringara (‘the piety arising from the separation of lovers’). The raga had at least two distinct forms as far back as the 16th century, and continues to manifest in several variations – principally a main Bhairav-ang ‘shuddha ma‘ […]
• Raag Gauri •
• 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 Dhanashree •
S-R-g-m-P-D-n-S Dhanashree is a multivariate raga of ancient vintage (listed in Medieval shastras as a ragini of Malkauns), which arrives in several present-day forms – usually based around the swaras of Bhimpalasi (SRgmPDnS), Khamaj (SRGmPDnNS), Bhairavi (SrgmPdnS), Bilawal (SRGmPDNS), or Patdeep (SRgmPDNS). Characteristic motions tend to retain similar ‘generic’ movement patterns, mapping them to the differing chal […]
• 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 Dev Gandhar •
S-R-gG-m-P-d-n-S A Gwalior gharana speciality described by Tanarang as “an old melodic form, not much in vogue…very sweet, its unique appeal stems from the application of both gandhars, elaborated similar to Jaunpuri”. Unlike Gandhari, Dev Gandhar allows for both Ga variants in aroha as well as avroh – with Parrikar providing a simple summary for […]
• Raag Shuddha Sarang •
S-R-mM-P-D-N-S A prominent early afternoon raga of the Sarang family, often said to evoke sringara. Ga is omitted, Dha is ornamental, and shuddha ma is introduced in avroh (always before Re, and sometimes adjacent to the tivra, e.g. MmR) – with Tanarang giving a pakad of NDSNRS (n.b. older variants of the raga also employed komal […]
• Raag Yaman Kalyan •
S-R-G-mM-P-D-N-S While the terms ‘Yaman’ and ‘Kalyan’ are often used interchangeably, the name ‘Yaman Kalyan’ refers to a distinct double-Ma variant of the parent raga, which sees shuddha ma inserted in descending phrases such as PMG, GmG. Vilayat Khan outlined his view of the raga’s characteristic twin-Ma interaction in the opening remarks to a sublime sitar–shehnai […]
• 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 Poorvi •
S-r-G-mM-P-d-N-S Poorvi is a long-lived sunset raga from East India, which some describe as evoking a ‘serious mood of mystical contemplation’. Mixing narrow and wide intervals (all swaras have at least one immediate neighbour), its complex twists and turns belie the base scale’s neat, palindromic nature – with Sa and Pa sometimes being omitted or rendered […]
• 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 bandishes by Mehboob Khan ‘Daraspiya’ (Dhundu Bare Saiyan) and Vilayat Hussain Khan ‘Pranpiya’ (Ajahun Na Aye). Aarshin Karande describes the raga as being “regarded […]
• 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 Surdasi Malhar •
S-R-m-P-D-nN-S A combination of melodies from the Malhar and Sarang ragangas, said to have been created by Saint Surdas: a blind 16th-century poet-musician renowned for his evocations of Krishna amidst themes of shringara and bhakti. The raga which bears his name is described by Tanarang as “uttarang-pradhan, with general movement around taar Sa…[lyrics] are dominated by […]
• Raag Sindhi Bhairavi •
S-rR-g-m-P-dD-n-S While often just lumped into the general ‘Mishra Bhairavi’ category, the ‘Sindhi Bhairavi’ lineage is a distinct melodic stream, although interpretations still vary significantly by artist and gharana. Typically, shuddha Re is given greater prominence, often employed in the fashion of the Asavari-ang, and performers may also give prominent roles to shuddha Dha, tivra […]
• 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 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 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 renditions are among my personal favourites (bandish: “Sleep will not come to […]
• Raag Jayant Malhar •
S-R-gG-m-P-D-nN-S An enchanting combination of Jaijaiwanti and Miyan ki Malhar, featuring correspondingly complex paths through the double Ga and Ni positions. Moumita Mitra’s explanation notes that some interpretations may alternate between the two parent ragas in a segmented, sequential manner, whereas others prefer to present their phrases in more intermingled fashion (e.g. RGm(G)P mGm\R; (m)R/P (m)gmR(SR)S: […]
• Raag Zila Kafi •
S-R-gG-m-P-D-nN-S A springtime raga described by Satyaki Dutta as “a flow of a thousand feelings…the advent of new beginnings, painted with gleaming colours and shimmering joy”. Its Zila component (archaic spelling: ‘Jilha’) generally places significant emphasis on the double-Ga, while the rest of the raga tends to fit into the thumri-allied Mishra Kafi framework. Virtually […]
• Raag Kaushik Dhwani •
S-G-m-D-N-S A modern-era descendent of the ancient Bhinna Shadja, essentially indistinguishable from its parent. Ma is a strong vadi, and a S\D glide is common in descending motions – but aside from this, artists are essentially free to roam at will within the scale, with all swaras employable as nyas across all three saptak (Tanarang: […]
• Raag Bhatiyar •
S-r-G-mM-P-D-N-S A dawn raga fabled as a creation of Raja Bharthari, a mythical King of Ujjain who is said to have left behind his life of material wealth and romantic pleasure to pursue a path of ascetic devotion (“Bharthari resolves to kill a black buck, and seek diksha [initiation rites] from the yogi…As the plan […]
• 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 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 Southern import. As per santooriya Tarun Bhattacharya, “This [scale] was originally called ‘Siva Kalyan’, but the raga went out of circulation. Having heard the Carnatic Jansammohini, my guruji Ravi Shankar brought it back [under] the Carnatic name. […]
• Raag Barwa •
S-R-g-m-P-D-nN-S An Agra gharana speciality, Barwa blends ideas from Kafi (mP, mgR; mPDNS), Sindhura (SRmP; Pg), Desi (RPRg), and Miyan ki Malhar (nDNS). The komal ga tends to be omitted in aroha, and ma is rendered deergha, while the Malharic Re–Pa pair is often given as the vadi-samvadi. Traditionally associated with the late morning hours, […]
• Raag Sohini •
S-r-G-M-D-N-S Sharing its six swaras with Marwa and Puriya, Sohini aims for a looser, more sprightly flavour to these more famous congruents – focusing on agile movements in madhya and taar saptaks, and uttarang-based phrases built on a strong Dha–Ga sangati. Re is banned in aroha, and Sa assumes greater strength than in Marwa, while […]
• Raag Shahana •
S-R-g-m-P-D-n-S The late-night Shahana (literally: ‘Of Royal Demeanour’) draws on elements from Darbari and Bageshri, notably including the former’s nP; gmRS descent and the latter’s strong g-m-D grouping. Distinctively, shuddha Dha is used as a prominent melodic endpoint, with Pa supporting it via distinctive up-down phrases such as PmgmD. Usually interpreted as a Kanada raga, Deepak […]
• Raag Nat Bhairav •
S-R-G-m-P-d-N-S A direct combination of Nat in poorvang and Bhairav in uttarang (SRGm+PdNS), Nat Bhairav was sitar icon Ravi Shankar‘s first raga creation, released in the pre-Independence music scene of 1945 – inspired by Shankar hearing an allied theme sung in a lecture-demo by legendary musicologist B.R. Deodhar (read the full origin tale below). Flavours of the […]
• Raag Kalingada •
S-r-G-m-P-d-N-S Kalingada shares the same seven swaras as Bhairav, but approaches them in distinct fashion – generally preferring a simpler, less ornamented character (as per Rajan Parrikar: “Kalingada has a flippant mien…far less austere than Bhairav. Ga and Pa are advanced to positions of influence, and the swara-lagav is mostly linear, without the andolit treatment […]
• 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”. Also known as ‘Gawati’, differences of opinion persist as to whether the raga is identical to Bheem: while some claim that Bheem can be distinguished by its occasional use of komal ga in […]
• Raag Bheem •
S-R-gG-m-P-D-n-S Near-identical to Gaoti, Bheem is sometimes said to be marked out by its allowance of komal ga in taar saptak – although this distinction now seems moot: there are plenty of Gaoti performances with this characteristic too. Debate persists: while Agra-Gwalior vocalist Prabhakar Karekar considers the ragas indistinguishable (having remarked that he “had been taught […]
• 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 Buddhadev Dasgupta‘s concise rendition: gat transcribed below). Komal ga is reintroduced via the gmRS Kanada signature in avroh – and some artists, including […]
• 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 Rageshri •
S-R-G-m-D-n-S Working along the lines of a ‘shuddha Ga Bageshri with shades of the Khamaj-ang’, the early-night Rageshri enjoys popularity among vocalists and instrumentalists alike. Like Bageshri, Re is often weak in ascent, and the ma–Dha sangati is strong – while unlike Bageshri, Pa is varjit throughout (likely as a result of shuddha Ga destroying the […]
• Raag Pancham Malkauns •
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 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 a […]
• 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 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 Abhogi •
S-R-g-m-D-S A rare instance of an ‘audav Kanada’ raga, Abhogi’s swara-set resembles ‘Bageshri‘s aroha without ni’ – presenting a clustered poorvang and sparse uttarang (SRgm; DS). As per Tanarang, the raga’s capacity for Darbaric concluding motions (mgmRS) summons “a deep atmosphere” – with the vacant upper scale presenting performers with a curious creative challenge. Abhogi is […]
• 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 Bhinna Shadja •
S-G-m-D-N-S Often characterised as the ‘older form’ of today’s Kaushik Dhwani, Bhinna Shadja’s lineage stretches back well over 1000 years. It appears in numerous ancient shastras: notably including Matangamuni’s Brihaddeshi (~8th-century), Abhinavagupta 11th-century writings (“Bhinnashadaja, Kaushiki, and Bhinnapanchama are favoured in Summer”), and Sarangdeva’s 13th-century Sangita Ratnakara – which describes its scale form in remarkably […]
• Raag Gaud Sarang •
S-R-G-mM-P-D-N-S Aside from its afternoon designation, Gaud Sarang typically carries few 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 enclosing […]
• 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 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 Jait •
S-rR-G-P-D-S A charming audav raga with several disparate branches. In particular, the treatment of Re varies (some render it komal, and others shuddha, while Jaipur-Atrauli singers employ both forms) – with Dha, which must be taken vakra, also showing up in both its variants (albeit not within the same performance). Indeed, even renditions by the […]
