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 Bilawal •
• Raag Durga •
S-R-m-P-D-S Beguiling in its pentatonic simplicity, Durga (Sanskrit: ‘invincible, impassable, inaccessible’) is inextricably tied to visions of the Hindu Mother Goddess: depicted in lore as a destroyer of demons and protector of the faithful (Maa Durga: who, according to legend, “was created to slay the buffalo demon Mahisha by Brahma, Vishnu, Shiva, and the lesser gods, […]
• 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 – a legacy of the raga’s roots in the Bilawal raganga (whereas Bhupali hails from the Kalyan lineage). Taking a Bilawal-ang vadi-samvadi of Dha–Ga, the raga is […]
• Raag Shankara •
S-R-G-P-D-N-S Long fabled as a favourite of Lord Shiva, Shankara (‘Auspicious‘) takes its name from a famous epithet of the deity (Rajan Parrikar: “the musical embodiment of [Shiva’s] personality, comporting with all its attributes: raudra, veera, irascible, volatile, capricious…”). Often considered a pre-midnight raga, it ascends with SGPDNS, often in vakra patterns, before adding subtle […]
• 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 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 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 Arun Malhar •
S-R-G-m-P-D-nN-S A rare and ancient Malhar variant, said to be marked out by a DDnP DGPm 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 […]
• 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 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 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 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 Loom •
S-R-G-m-P-D-N-S A rare but charming all-shuddha raga, said by some to be an older form of the Bilawal lineage. Most commonly associated with Ali Akbar Khan, who performed several variants over the course of his long career: including the ‘pure’ Loom, as well as Loom Nat and Loom Mand (all SRGmPDNS). During one concert, Khan recounted […]
