S-R-mM-P-D-N-S An early night raga, Kedar is traditionally associated with heat (Tanarang: “there is much thermal energy in this melody…hence it is regarded as a ragini of Deepak“: Tansen’s legendary fire-bringing raga). Often seen as particularly subtle, complex, and hard-to-perform – partly due to its curiously wide aroha jump from Sa to Ma (depending on […]
• Raag Kedar •
• Raag Shyam Kalyan •
S-R-G-mM-P-D-N-S Shyam Kalyan (‘Evening Kalyan‘) is a prachalit Kalyan variant. Ga is used sparingly in ascent, and typically skipped in phrases which run through the scale sequentially, and shuddha ma is taken in descent only – while Re is emphasised throughout, and Pa is available as a resting note. As per Tanarang‘s summary, the raga is “a very […]
• 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 Deepavali •
S-R-G-mM-D-N-S A tantalising invention of bansuri pioneer Pannalal Ghosh, with a scale resembling ‘Bihag no Pa’ (or even ‘Bilawal komal Pa’/’Major Scale b5‘). As with Pannababu’s other creations, debate persists as to exactly how he conceptualised the raga – his own renditions span a multitude of ideas, and, at the time of his sudden passing aged […]
• 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 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 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 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 Lakshmi Kalyan •
S-R-G-mM-P-D-N-S An enchanting but seldom-heard raga, taking the swara set of ‘Kalyan double-Ma’ (n.b. ‘Lakshmi’ refers to the Hindu goddess of power, prosperity, and fortune). Described by slide guitarist Deepak Kshirsagar as “a combination of Shuddha Sarang and Shyam Kalyan, [although] some combine Shuddha Sarang and Kamod..or use [the swaras of] Shyam Kalyan in the […]
• 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 Khem Kalyan •
S-R-G-mM-P-D-N-S A rare-but-charming raga of the Agra gharana, Khem Kalyan is a Kalyan variant with Hansadhwani-like touches. In his essay The Precious Kalyan, Imdadkhani sitarist-scholar Deepak Raja recounts his quest to decode and reconstruct its workings from old recordings, having failed to find a guru who knew it: “This was no ordinary raga…not even just […]
• Raag Sanjh Saravali •
S-R-G-mM-P-D-N-S Taking the general form of ‘Yaman Kalyan seasoned with Bihag’, Sanjh Saravali (‘Evening Melody’) was devised by Vilayat Khan in the late 1970s. Fellow Imdadkhani sitarist Deepak Raja, aided by input from Vilayat himself, describes the raga as “incorporating fleeting impressions of several Kalyan ragas, including Nand Kalyan and Chayanat…its melodic identity rests on […]
