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 Amirkhani Kauns •
S-G-M-P-n-S A ‘pentatonic Vachaspati’ created (as the name implies) by Indore vocal master Amir Khan, which omits Re and Dha (thus, Amirkhani Kauns is to Vachaspati as Dhani is to Kafi). All swaras except Sa are imperfect – with the unusual Ma–ni sangati exerting inevitable gravity and drawing melodies away from clear resolution. Few of […]
• 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 Gangeshwari •
S-G-m-P-d-n-S Like Parameshwari and Rangeshwari, Gangeshwari (‘Lordess of the Ganges River’) was created by Ravi Shankar in 1968, via murchana rotation of his newly-invented Kameshwari (itself dreamed up during a car ride through Bengal). Its unevenly-spaced shadav scale (prakriti with some forms of Sundarkauns) most closely resembles a ‘no Re’ version of either Charukeshi or Basant […]
• Raag Kabiri Bhairav •
S-r-G-m-P-dD-nN-S Anuraag Dhoundeyal, writing in Swarajya magazine, considers Kabiri Bhairav to express “the angst of mystic experiences” (the ‘Kabir’ of the title refers to the famous 14th-century poet-mystic, highly influential on Sikh scriptures as well as the Hindu Bhakti movement through his radical critiques of organised religion). The raga’s poorvang matches with Bhairav (SrGm), however […]
• 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 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 Vihang •
S-r-G-mM-P-D-N-S Vihang (Sanskrit for ‘Bird’) is a complex double-Ma form, most prevalent among Jaipur-Atrauli gharana vocalists. Manjiri Asanare-Kelkar’s detailed demo casts it as a ‘phrase-based’ raga, combining a Bihag core with melodies from Purva, Jait Kalyan, and Puriya, alongside connecting phrases such as MDMG, rS – also linking it Marwa and Puriya Kalyan. Tabla scholar Aneesh Pradhan […]
• 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 Champak •
S-R-G-m-P-D-nN-S A seldom-heard neighbour of Khambavati, distinguished (often very subtly) by stronger use of shuddha ma, and sometimes involving a Gm\S catchphrase. Both ni swaras are used, with the komal introduced via vakra avroh motions (e.g. SRn). Named after a huge evergreen tree species with fragrant yellow-orange flowers, used in perfumery and featured in myths […]
• 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 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 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 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 Khambavati •
S-R-G-m-P-D-n-S A loose mixture involving Khamaj, Jhinjhoti, and Mand, with different renditions emphasising varied facets of these ragas. The movements of the former tend to predominate: as per Deepak Raja, “normally performed in slow or medium tempo, with low to medium melodic density…an instant identification of Khambavati, as distinct from Jhinjhoti, requires consummate musicianship. This depends […]
• Raag Pancham •
S-r-G-mM-P-D-N-S An ancient raga of great historical renown, which is nevertheless rare in the modern era. Ramrang cites it as a descendent of the long-extinct Bhukosh (also an antecedent of Bhinna Shadja), with others linking it to the prakriti Bhankar and Bhatiyar (distinguished via sequences such as GMGrS; mmmGP; MDMmG). Most interpretations approximate the swaras […]
• Raag Lakshmi Todi •
S-rR-gG-m-P-dD-n-S A complex multi-melodic blend named after the Hindu goddess of power, beauty, prosperity, and good fortune (Lakshmi: ‘she who leads to the goal’) – which imports the movements of several other ragas into a general Todi framework. Abhirang’s breakdown discusses “shades of Jaunpuri (RmPSdP; nSRndP), Dev Gandhar (RnSRGm), Gaud (SRGmGm; mGRGm), Kafi (RmPDnS), Gandhari […]
• 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 Adi Basant •
S-rR-G-m-P-D-N-S An ancient form of Basant (‘Springtime’), named for its connections to the ceremonies of that season. Many see Adi Basant as the latter’s main ancestor, highlighting its historic prevalence in Dhrupad and Haveli Sangeet – and some, including Maihar musicians, consider it inseparable from Shuddha Basant (‘shuddha’, as well as referring to ‘pure’ or […]
• Raag Bhatiyari Bhairav •
S-r-G-m-P-D-N-S A hybrid of two morning ragas: Bhairav and Bhatiyar. While movements of the latter take centre-stage, its typical PGrS descending phrase is replaced by the Bhairav-ang GmG\rS signature: Ramrang offers indicative patterns including Sm; mPGm; GmPDNP; DmPGmP; DNr; NDP; GmPmrS; PGmrS, occasionally seasoned with tivra Ma via MDS [n.b. ‘Bhairav-Bhatiyar’, though built from the same […]
• 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 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 Shivmat Bhairav •
S-r-gG-m-P-d-nN-S Shivmat Bhairav can be described as a blend of Bhairav, Bhairavi, and Todi, with the former being the most dominant over the sound (‘Bhairav double Ga/Ni’). Relatively rare in modern times, the raga brings out Bhairav via GmrS phrases and oscillations on the komal re – while also incorporating komal ga and ni in […]
• Raag Amritvarshini •
S-G-M-P-N-S A rare audav raga corresponding to the swaras of ‘Yaman no Re/Dha’, imported from a well-established Carnatic form. The name translates as ‘one who showers the elixir of immortality’, hinting at its rich mythological history – in South India, the raga has long been associated with the monsoon (compare to the Northern Malhar ragas, […]
• Raag Shree Kalyan •
S-r-G-M-P-D-N-S Congruent with the seven swaras of Puriya Kalyan (and Marwa thaat), Shree Kalyan is an enchanting product of Kumar Gandharva’s prolific imagination (also see Madhusurja, Lagan Gandhar, Saheli Todi, Rati Bhairav, Bihad Bhairav, and Bhavmat Bhairav). The movements of his main rendition (Dekho Re Rut Phoolan Lagi) place Shree’s tritonal re–Pa sangati on stark […]
• 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 Enayetkhani Kanada •
S-R-gG-m-P-d-nN-S Invented by sitarist Vilayat Khan as a tribute to his father, legendary innovator Enayet Khan (although when the raga first surfaced, circa 1981, he was calling it ‘Vilayat Khani Kanada’ instead…). As per fellow Imdadkhani sitarist-scholar Deepak Raja’s excellent analysis, the raga runs along the lines of “Darbari with the addition of two ‘alien […]
• 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 Latangi •
S-R-G-M-P-d-N-S A unique sampurna scale borrowed from the 63rd Carnatic mela, which takes the form of ‘Kalyan komal dha’ (or ‘Yaman’s poorvang + Bhairav’s uttarang’: SRGM+PdNS). Subbha Rao’s Raga Nidhi Vol.3, written in the early 1960s, mentions that “Latangi is not found in Hindustani music” (p.90) – and it remains unclear who first imported the […]
• Raag Lalita Gauri •
S-r-G-mM-P-dD-N-S Spanning a diverse range of ‘Lalit + Gauri‘ experiments, the name ‘Lalita Gauri’ essentially refers to the general concept of fusing these two ragas rather than a specific melodic form. The most prominent modern incarnation appears to have been created by Jaipur-Atrauli vocalist Kesarbai Kerkar (who often employed it as a concert centrepiece), although differing […]
• 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 Meerabai Malhar •
S-R-gG-m-P-dD-nN-S A charming branch of the Malhar lineage, ragas under titles such as ‘Meera/Meerabai ki Malhar’ exist in diffuse modern forms, between them encompassing both forms of Ga, Dha, and Ni. While exact historical origins are uncertain, they take their name from Mira Bai, a famous 16th-century poet-musician revered for her fierce devotion to Lord […]
• 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 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 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 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 Dhavalshree •
S-r-G-M-P-dD-N-S A Shree-ang monsoon raga which presents in multivariate modern forms, with particular variance evident in the status of Dha. Kishori Amonkar’s Jaipur-Atrauli interpretation adds shuddha Dha to the basic framework of Jaitashree, whereas Mallikarjun Mansur’s take renders dha komal amidst Shree-ang motions such as rNdP, also showcasing a strong SGP sangati and chayas of […]
• Raag Sehera •
S-R-G-M-d-n-S Among the strangest of scales, Sehera’s six swaras are all spaced out in two-semitone jumps (akin to the Western Whole-Tone Scale). The resulting symmetries summon a curious, centreless mood, most famously known as a pan-cultural sonic signifier for ‘entering or waking from a dream‘. Best explored by its creator sarangiya Sultan Khan, who described […]
• 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 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 Trishnaa •
S-R-gG-P-dD-S A charming late-evening audav raga which features both forms of Ga and Dha, recently introduced by Dagarvani vocalist Ashish Dha. As per the summary he sent me, “Trishna – meaning ‘thirst’ in Hindi – creates a plaintive, slightly melancholic mood…Dha is shuddha in aroha, and komal in avroh. Komal ga is used in both […]
• Raag Madhyami •
S-R-gG-m-P-dD-n-S A complex, winding invention of sitar innovator Abdul Halim Jaffer Khan, which incorporates both forms of Ga and Dha into a Charukeshi-like framework. His most prominent rendition, released on a 1973 album with Samta Prasad on tabla, is a fascinating portrait of his ‘Jafferkhani baaj’ style – revolving, as the raga’s name suggests, around […]
• Raag Bhavmat Bhairav •
S-r-G-mM-P-D-n-S A curious fusion of concepts from two famous morning ragas – Bhairav and Lalit – devised by the gharana-blending Kumar Gandharva around the 1970s (also see his Bihad Bhairav, Rati Bhairav, Saheli Todi, Lagan Gandhar, & Madhusurja). Sadly, few recordings seem to exist – refer to Gandharva’s classic renditions for starters (e.g. Kantha Re […]
• Raag Chaya •
S-R-G-mM-P-D-nN-S Despite its long history, Chaya (also called Shuddha Chaya) is now largely overshadowed by its compounds, chiefly including Chayanat. According to sarodiya Rahul Bhattacharya, the raga is “in many aspects a more restrained version of Chayanat”, chiefly distinguished by its poorvang-dominance and weaker treatment of komal ni – although Deepak Raja notes that “even […]
• 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 Rati Bhairav •
S-r-G-m-P-dD-nN-S An idiosyncratic ‘double-Dha’ invention of vocalist Kumar Gandharva (also the creator of Bhavmat Bhairav, Bihad Bhairav, Saheli Todi, Lagan Gandhar, & Madhusurja), which blends Bhairav with Ahir Bhairav. As per Milap Rane, “Rati Bhairav is a jod raga, [with] Ahir Bhairav overshadowing Bhairav…This raga symbolises the union of Shiva [Bhairav] and Shakti [Ahir Bhairav]. […]
• Raag Maluha (Kalyan) •
S-R-G-m-P-D-N-S Maluha (‘Tearful’) is compound raga which draws on forms including Kamod and Shyam Kalyan. Tivra Ma and komal ni are mostly restricted to ornamental use (e.g. GP(MDPM)P), and the avroh may feature touches of Khem Kalyan and other proximate forms. The liner notes to a 1966 Nikhil Banerjee album describe Maluha Kalyan as “an […]
• Raag Prabhat (Bhairav) •
S-r-G-mM-P-d-N-S A morning form (Prabhat: ‘dawn’) summarised by Bose as “a combination of three or four ragas dominated by the Bhairav-ang, with a touch of Lalit-ang only in the avroh, where both Ma come together…The vadi Ma separates Prabhat Bhairav from Bhairav, while Pa keeps it away from Lalit” (also see the nearby Lalit Pancham). Characteristic […]
