S-R-G-M-P-D-N-S Among the first-learned and most-performed ragas, Yaman’s influence on modern Hindustani music is impossible to overstate. Linked to the early night hours (‘when lanterns are lit’), the disbalancing effects of tivra Ma – the only non-shuddha swara – allow for a kaleidoscopic emotional range, with Sa and Pa often being skipped in aroha to […]
• Raag Yaman •
• Raag Vachaspati •
S-R-G-M-P-D-n-S Vachaspati (‘lord of speech’) is a recent import from the South, adapted from Carnatic music’s 64th parent scale in the mid-20th century. Consequently, its Northern form is still in a state of flux, with few firm melodic conventions aside from staying within the scale’s bounds. The swaras resemble overtones 8-14 of the harmonic series […]
• Raag Tilak Kamod •
S-R-G-m-P-D-N-S Mirroring the Western Major scale, Tilak Kamod’s seven swaras offer robust melodic flexibility across a range of sentiments (“heroic courage, philosophic poise, devotional contentment, suggestive eroticism…”). One tale traces the raga to Pyar Khan, a rabab pioneer said to have devised it after overhearing a village woman sing while grinding corn in Uttar Pradesh. […]
• Raag Poorvi •
S-r-G-mM-P-d-N-S Poorvi is a long-lived sunset raga from East India, which to many evokes a serious mood of mystical contemplation. Mixing wide and narrow intervals (all swaras have at least one immediate neighbour), its complex twists and turns belie the base scale’s neat, symmetrical nature – with Sa and Pa often being omitted in ascent […]
• Raag Pilu •
S-R-gG-m-P-dD-nN-S A true thumri raga, Pilu’s highly permissive melodic framework functions more like an alliance of amorous folk tunes than a ‘fully codified’ form. While relatively rare on the khayal stage, it enjoys wild popularity across a swathe of semi-classical styles, invoking both variants of Ga, Dha, & Ni to animate love songs and Krishna […]
• Raag Patdeep •
S-R-g-m-P-D-N-S Derived from the Dhanashree family, Patdeep somewhat resembles a ‘shuddha Ni Bhimpalasi’: ascending pentatonically before revealing Re and Dha in descent (and thus mirroring the Melodic Minor). Its distinctive interval structure, featuring a run of adjacent whole-tone jumps (gmPDN), can be rotated via murchana to form Charukeshi, Vachaspati, and Ahiri. • Raga Megalist (365+) • […]
• Raag Megh •
S-R-m-P-n-S Among the oldest surviving members of the Malhar family, Megh (‘cloud’) is said to have saved the life of Tansen himself. Legend holds that great composer’s forceful rendition of Deepak caused the waters and streams around him to boil, and all the oil lamps to burn uncontrollably in Emperor Akbar’s royal palace. His efforts to […]
• Raag Malkauns •
S-g-m-d-n-S Among the most revered ragas in the Hindustani pantheon, Malkauns (‘he who wears serpents as garlands’) combines structural simplicity with a nuanced mythological ethos. Said to have been composed by the goddess Parvati to soothe Shiva’s murderous rage, it is associated with states of ‘severe tranquility’, calling on artists to approach with solemnity and […]
• Raag Kaunsi Kanada •
S-R-g-m-P-d-n-S The modern form of Kaunsi Kanada is often summarised as a blend of two ragas: ‘Malkauns on the way up, and Darbari on the way down’. But the whole is more than the sum of these parts, with both sides interacting to offer labyrinthine moods – described by Debasmita Bhattacharya as one of “heavy […]
• Raag Kafi •
S-R-g-m-P-D-n-S Perhaps more like an compendium of folk tunes than a fully codified raga framework, Kafi offers unusual chromatic freedoms. Almost always appearing in mishra (‘mixed’) form, renditions will often borrow from affiliated ragas as well as semi-classical styles such as thumri, dadra, and ghazal. Lyrical material tends towards the romantic, matched by free-roaming melodies. […]
• Raag Jhinjhoti •
S-R-G-m-P-D-n-S A staple of thumri, tappa, and other light-classical styles, Jhinjhoti is a hearty raga of the late evening and early night hours. Particularly beloved by instrumentalists, it is a favourite of Hindu weddings and other celebratory gatherings, offering a reassuring familiarity via balancing Durga-like ascending phrases with a special treatment of shuddha Ga in […]
• Raag Gorakh Kalyan •
S-R-m-P-D-n-S A spacious, folksy raga of the late evening, Gorakh Kalyan (named for Gorakhpur in Uttar Pradesh) has fabled links to Saint Gorakhnath – a yogi and mystic-musician said to have travelled throughout the Subcontinent in search of spiritual wisdom and sonic enrichment. Some include only four swaras in aroha (SRmD), leaving room for winding, […]
• Raag Durga •
S-R-m-P-D-S Beguiling in its pentatonic simplicity, Durga (‘invincible, impassable’) is inextricably tied to visions of the Mother Goddess: depicted in Hindu lore as a destroyer of demons and protector of the faithful. Despite these ancient associations, the raga is of relatively recent Carnatic import, only gaining broad acceptance among Northern rasikas around the mid-20th century. […]
• Raag Desh •
S-R-G-m-P-D-nN-S Intimately connected to Indian national identity, Desh gives melodic direction to the famous patriotic anthem Vande Mataram, as well as soundtracking dozens of Rabindrasangeet. Associated with the second quarter of night, renditions tend towards the sweet and romantic, borrowing liberally from thumri, hori, and other folk forms. Re is prominent – and the raga […]
• Raag Darbari •
S-R-g-m-P-d-n-S Darbari has been described as “the emperor of ragas, and the raga of emperors”. Its majestic tones famously echoed across the marble floors of Mughal palaces in centuries past, bringing solemn relief to kings, warlords, and diplomats alike. Consequently, renditions tend to retain a grave, reverential patience, laden with heavy, vocalistic ornaments and turns. […]
• Raag Charukeshi •
S-R-G-m-P-d-n-S Adopted from Carnatic music, Charukeshi calls for wide-open melodic exploration, favouring long melodies which wind around themselves while visiting the furthest reaches of all three octaves. Like many Southern scales, it is often used as a canvas for reshaping and recolouring ideas from adjacent ragas, while itself presenting an odd marriage of major and […]
• Raag Chandranandan •
S-R-g-m-P-d-nN-S Chandranandan (‘moonstruck’) is a modern classic, created by Ali Akbar Khan in a spare studio moment via spontaneously blending concepts from the Kaunsi family. The recording sold wildly – but, when concert audiences called out for the raga, he found that he had forgotten how to play it. The sarod master’s paradox-laden path of […]
• Raag Bilaskhani Todi •
S-r-g-m-P-d-n-S A hallowed form, Bilaskhani Todi is fabled to have been created by Bilas Khan: son of Tansen, the legendary composer of Emperor Akbar’s court. On trying to sing Todi at his father’s funeral wake, Bilas found himself so grief-stricken that he mixed up the swaras – however, his panic was allayed on witnessing the […]
• Raag Bihag •
S-R-G-mM-P-D-N-S Created via the artful grafting of tivra Ma onto a Bilawal-oriented base, Bihag contains a wealth of melodic possibilities. Long linked to late evening festivities, its meend-laden tendencies are explored with symmetrical articulations and fluid resolution phrases, guided by nuanced swara hierarchies which may display significant gharana-to-gharana variance. Swara-congruent with multiple ragas, including Chayanat, […]
• Raag Bhupali •
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 Bhimpalasi •
S-R-g-m-P-D-n-S Associated with the invigorating warmth of the late afternoon sun, Bhimpalasi evokes multiple shades of shringara (‘romantic love, erotic desire’). Thought to have arisen from an archaic union between Bheem and Palas, the raga calls for direct, passionate melodic outpourings, balancing a deft pentatonic ascent with the symmetry-inducing addition of Re and Dha going […]
• Raag Bhairavi •
S-r-g-m-P-d-n-S Probably the most prominent raga in the entire Hindustani canon, Bhairavi (‘awe, terror’: after the Fifth Avatar of the Mother Goddess) is a concert-closing staple. Unique in its chromatic flexibilities, the raga may span the full swara spectrum, allowing for a multitude of moods in the hands of a master. Long linked to the […]
• Raag Bhairav •
S-r-G-m-P-d-N-S Revered as the primary raga of Lord Shiva, Bhairav takes its name from Kala Bhairava (‘fearsome form’) – an apocalyptic manifestation of the deity fabled to have cut off one of Brahma’s five heads to silence his arrogance. Renditions reflect the gravity of this ancient lore, depicting Shiva’s tandav (‘dance of destruction’) with wide-roving […]
• Raag Bageshri •
S-R-g-m-P-D-n-S An ancient raga of the late night, Bageshri is associated with vipralambha – the profound shades of longing felt by a separated lover. These sentiments are reflected in its multipolar phraseology: artists may resolve towards Sa for a clustered, inward-turning feel, or towards shuddha ma for a more open, expansive sound – often seen […]
• Raag Asavari •
S-rR-g-m-P-d-n-S An antique late morning raga, Asavari comprises two main variants: an older, Dhrupad-favoured ‘komal re’ form, and a more recent set of ‘shuddha Re’ offshoots. Both call for complex connective motions and expressive oscillations on dha, which may be tuned ati-komal. Classical ragmala paintings often depict Asavari as a female snake-charmer sitting atop a […]
• Raag Sehera •
S-R-G-M-d-n-S Among the strangest of raga scales, Sehera’s six swaras are all spaced out in two-semitone jumps (akin to the Western Whole-Tone scale and the Carnatic Gopriya). The resulting symmetries summon a curious, centreless mood (also famous as the ‘dream sequence‘ of countless soundtracks) – best explored by sarangiya Sultan Khan, who described Sehera as “the […]
• 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 Shahana •
S-R-g-m-P-D-n-S A late night raga, Shahana (literally: ‘of royal demeanour’) is a close cousin of the more famous Bageshri, sharing the same swaras but focusing more on the use of shuddha Dha as a melodic endpoint. Usually classed as a member of the Kanada family, Deepak Raja notes that Shahana is linked in medieval texts […]
• 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 Pancham se Pilu •
S-R-G-mM-P-D-nN-S A murchana rotation of Pilu (literally: ‘Pilu from Pa’) – i.e. if you treat this raga’s Pa as the ‘new Sa’, Pilu is produced (…in its ‘komal dha-less’ form). Pilu’s doubled gG–nN swaras, separated by a Perfect 5th, are thus transformed into Pancham se’s nN–mM (i.e. the murchana’s main effect is to trade Pilu’s […]
• 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 Mudriki Kanada •
S-R-g-m-P-D-n-S Described by Rajan Parrikar as “an uncommon Kanada variety on which there prevails no consensus”. Formed by “introduc[ing] a shuddha Dha into the Adana stream” (e.g. Ramrang’s rendition) – although “the Agra-Atrauli edition comes in a different flavour, involving…a recurring phrase RmRP” (e.g. Sharafat Hussain Khan). Seemingly unrecorded by non-vocalists. • Raga Megalist (365+) • Search […]
• Raag Mohankauns •
S-gG-m-d-n-S As recounted in The Hindu, Mohankauns “was spontaneously created by Ravi Shankar in 1949. On hearing of [Mohandas K.] Gandhi’s death, Pandit-ji was asked by All India Radio to play a piece dedicated to the Mahatma. On the spot, he created a variation of…Malkauns”. As well as the occasional use of shuddha Re, his […]
• 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. Deepak Raja recounts decoding its phraseology from old recordings, having failed to find a guru who knew it: “This was no ordinary raga…not even just another rare raga. It was a special raga, perhaps beyond reach without a […]
• Raag Kalingada •
S-r-G-m-P-d-N-S Kalingada shares the same seven swaras as Bhairav, but approaches them differently – preferring a straighter, less ornamented character (as per Rajan Parrikar: “Kalingada has a flippant mien…far less austere than Bhairav. The Ga and Pa are advanced to positions of influence, [and] the swara-lagav is mostly linear, without the andolit treatment prevalent in […]
• 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. Rajan Parrikar describes it as an “Asavariant”, closely tied to the phraseologies of the Asavari family: some see the ragas as indistinguishable, while others consider Jaunpuri to take more ‘rounded’ melodic shapes, and permit greater use of […]
• Raag Jaun Bhairav •
S-rR-gG-m-P-d-nN-S A jod raga fashioned by Agra vocalist Jagannathbuwa Purohit ‘Gunidas’ (also the creator of Jogkauns and Swanandi), combining Jaunpuri and Bhairav. Described as having a “crowded swara-space”, with both komal and shuddha variants of Re, Ga, and Ni on display. Abhijith Shenoy ‘Abhirang’ offers catchphrases including SRmP; rNSdP; dmPG; PgRS; GmrS. • Raga Megalist […]
• Raag Hemshri •
S-g-m-P-nN-S A night raga created by Gwalior composer and vocalist Vishwanath Rao Ringe ‘Tanarang’, essentially equivalent to ‘Tilang komal ga’. In his own words: “the mood [is] light…a very sweet melody that manifests readily in the following combinations [e.g. SgmPm, gmPnPNNS; PNSnP; PNSgNS]”. Re is banned entirely, while the raga is distinguished from Dhani by the use […]
• 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 it’s so nice”. Also known as ‘Gawati’, the raga is often considered near-identical to Bheem (although strictly speaking, Bheem can be distinguished by its occasional use of komal ga in taar saptak). Straightforward audav […]
• Raag Gagan Vihang •
S-R-G-m-P-D-N-S As per Ocean of Ragas, “composed by Pandit Dinkar Kaikini…in Gagan Vihang we find features of Bihag, Savani, Nand, and Mand, although the raga maintains its independent melody…[via] unique phrases such as: SRPGm, GmRS, NDmP” – while other sources also point to the influence of Shankara. The Agra vocal innovator (also father of tabla […]
• Raag Darjeeling •
S-r-g-m-P-d-n-S Unveiled by sitarist Niladri Kumar in a 2014 Taj Mahal tea commercial, launching a new Darjeeling-themed range described in marketing materials as “definitely our most premium offering” (Niladri: “I have composed [it] in honour of the superlative flavour”). Status as a ‘real raga’ (rather than just a Mishra Bhairavi) is highly dubious – and […]
• Raag Dagori •
S-R-G-m-P-D-N-S Dagori draws from Bilawal thaat, featuring prominent use of Ni and characteristic slides between ma and Re. Possibly invented by Jaipur-Atrauli founder Alladiya Khan (and still near-exclusively performed by singers of that gharana), some consider the raga to be a Bilawal–ang interpretation of the now-lost Deepak (Tansen’s legendary fire raga). Dagori’s name also resembles that […]
• Raag Bheem •
S-R-gG-m-P-D-n-S Near-identical to Gaoti, Bheem is distinguished by its allowance of komal ga in taar saptak. Tanarang notes that “in uttarang, komal ni is always rendered [via a] meend from Sa, as a kanswar like GmP, (S)nS…Similarly in Avroh, ni is generally skipped like SP/DP“. The vakra GmRS is taken instead of mGRS. (n.b. Parrikar notes the […]
• Raag Arun Malhar •
S-R-G-m-P-D-nN-S An ancient Malhar variant, marked out by a DDnPDGPm 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 again only in the sketchiest of terms”. Described as a mix of Bilawal, Gaud Malhar, and […]
• Raag Amiri Todi •
S-rR-g-m-P-dD-n-S Created by sarod maestro Amjad Ali Khan in 1974, inspired by vocalist Amir Khan. As recounted to Indian Express in 2009: “My love and reverence for Khansaheb does not stem only from his music, but for his truly kind and humble nature. When he died, it appeared as if the light had gone out […]
• Raag Adana •
S-R-g-m-P-d-n-S Though congruent with the swaras of Darbari, Adana favours a “lighter, flittering” treatment: skipping ga in aroha, limiting ornaments on dha, and focusing more on madhya/taar saptak (although the gmRS Kanada signature may reappear in avroh), while some may assign a higher sruti to the komal ni. The raga appears in several 17th-century ragmala […]
• 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 places greater emphasis on the double-Ga, while the rest of the raga tends to fit into the thumri-allied Mishra Kafi framework. Almost all recordings are on either […]
• Raag Zeelaf •
S-G-m-P-d-S A rare audav raga fabled to have been created by 13th-century qawwali pioneer Amir Khusrau, somewhat resembling ‘Charukeshi minus Re & ni’. As per Rajan Parrikar, “this haunting pentatonic melody is composed of the following swaras: SGmPd: Jitendra Abhisheki gives a superb account with his own composition. Notice the strong ma…[and] the subtle Gm/S meend”. […]
• Raag Shyam Kalyan •
S-R-G-mM-P-D-N-S Shyam Kalyan is a prachalit Kalyan variant. Ga is used sparingly in ascent, and typically skipped in phrases which run through the scale sequentially – while Re is emphasised, Pa is a resting note, and shuddha ma is taken in descent only. It bears a resemblance to Shuddha Sarang, while being distinguished by the use […]
• Raag Shuddha Kalyan •
S-R-G-M-P-D-N-S A popular early night raga, Shuddha Kalyan ascends with the same 5 swaras as Bhupali (SRGPDS), and descends with the full 7 of Yaman (SNDPMGRS), leading some to title it ‘Bhoop-Kalyan’. Phrases tend to end on the poorvang-slanted Sa, Re, Ga, or Pa – and both the ‘avroh-only’ swaras (Ni & Ma) must be treated subtly […]
• Raag Virat Bhairav •
S-r-G-m-P-dD-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Dinkarbuwa Panshikar (2019)— [alap, e.g. 0:17] nSS n/rSnd, dnSrS rS(dn)S, Srr, r(SrSnSndnS)r, nnS(rSnS)r, (G)r (Gr)r, n(D) n(D) S(nr) n(r), nn(Snd), dnS nS, n n(DS)n\D(d) nS, nS nDnS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, […]
• Raag Vijayanagari •
S-R-g-M-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Malini Rajurkar (~1980s)— [refrain, e.g. 3:58] (S)R\S, D(SD)S, (DSDR)SD S(DS)D, DP, P(S)D/S (RS)R R(P)g, (RP)g RSR SS, (M)P P M\g(M)g RS, S(RS)R, R(gRS)S, D(SDSD)P, (SD)S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more […]
• Raag Tilang Bahar •
S-R-gG-m-P-D-nN-S A sparsely-recorded form which uses all the swaras of both Tilang and Bahar, appraised by Tanarang as “a fine blend of the two melodies…both [ragas] provide sweet tonal embellishment” (who gives characteristic phrases of GmPm; GmRS; mDNS; DNSRS; SnPmG; mPm; DNSnP; GmRS). Kirana singer R.D. Jadhav’s performance (described on the cover as a “bright […]
• Raag Tilak Malhar •
S-R-G-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ramashreya Jha ‘Ramrang’ (2007)— [bandish, e.g. 0:56] SRP(DnPmG), GRS, GR, GR(GRSR)mGRS, SRP(DSPmG), GRS, GR… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 […]
• Raag Tanseni Madhuvanti •
S-R-g-M-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bhimsen Joshi (1980)— [refrain, e.g. 3:04] (M)DP M\g (gR)S M, MPP, (M)DP M\g (R)S M(g), (MPM)DP M\g (gR)S M(g), MP… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Swanandi •
S-R-G-m-P-D-N-S Fashioned by Agra vocalist Jagannathbuwa Purohit ‘Gunidas’ (also the creator of Jogkauns and Jaun Bhairav), fusing material from Bhatiyar, Bihag, and Bhinna Shadja into an engrossing new whole. Bhatiyar forms the main base, with its phrases being reworked to match the swaras of Bilawal thaat (e.g. PGRS; SD NDP, PDPm), with Bhinna Shadja contributing […]
• Raag Suha (Kanada) •
S-R-g-m-P-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Manilal Nag (1985)— [refrain, e.g. 20:09] RR g(mgPmgm) R(g) R(g) S, n(Sn) SR(gS)R g(mgmgmg), R(gRgRgR), S, n(RS) S(gR) g(m), R(SR) nS(RSn), P(nP)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• Raag Sorath •
S-R-G-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Gurmeet Singh Shant (2021)— [refrain, e.g. 1:06] Gm\SRGPN, NNS(RS) n\D(P)P; Gm\SRGPN, NNS(RS) n\D(P)P; Gm\SRGPN… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 […]
• Raag Simhendra Madhyamam •
S-R-g-M-P-d-N-S Borrowed from a South Indian ragam (melakarta scale #57), Simhendra Madhyamam takes the form of a ‘Kirwani tivra Ma’, ‘Todi shuddha Re’, or ‘Madhuvanti komal Dha’. Despite the popularity of its Carnatic congruent (hailed by Charulatha Mani as “regal, meditative, bold, and striking”), the raga remains relatively rare in the North – with its […]
• Raag Shukla Bilawal •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Manjiri Asnare-Kelkar (2016)— [refrain, e.g. 3:26] GGm, m(Gm), mG(RS), G(mG)m m(DP) (D)G (P)m, G(RGR) Gm; m\R m\R R/P, (GD)P (DP)DPm, G(mPm)G, SG Gm… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• Raag Shuddha Malhar •
S-R-m-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Lalith J. Rao (1994)— [refrain, e.g. 0:36] m\RR PP S\DD (D)SRS, SDP, m\RR PP S\DD (D)SRS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 […]
• Raag (Shuddha) Chaya •
S-R-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Soumya Chakraverty (2018)— [refrain, e.g. 3:10] D, D PP(M)P, PmR G m DPGGm R, (S)NN S, D, D… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 […]
• Raag Shivawanti •
S-R-g-M-P-D-S A barely-documented modern creation of sitar and surbahar legend Imrat Khan – kindly brought to my attention by his former student Chris Stephens via the Chandrakantha forum: “In regard to the ‘idiosyncratic’ Etawah ragas, here’s a video of [Khan] playing Shivawanti, which he described as a combination of Madhuvanti and Shivranjani. I captured this […]
• Raag Savani •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Narayanrao Bodas (2016)— [refrain, e.g. 3:16] Gm(G)P mP G (R)S, (SN)S S(NRS) S, R\N S, G m G, G(mGPmG)m P/S(NRSN)S, S\P P\G, Gm/D mP(G), G (Gm)P (m)P G (R)S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana […]
• Raag Saraswati Kedar •
S-R-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Prakash Vishwanath Ringe (2000)— http://www.tanarang.com/Bandishen/Saraswati-Kedar/Sadra%20-%20Chatur%20Balma%20aayo%20mandirwa%20-%20Jhaptl%20%20Vilambit%20-%20PVR.mp3 [bandish, e.g. 0:25] (G)RMP, D(N)R S(NnDn), DPDP, PM(DP)m, SRRS, m\R RP(MP) MP, N\D D/R S\n, DP, (M)RMP, D(N)R S(NnDn)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Sanjh Saravali •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Vilayat Khan (2000)— [gat, e.g. 0:34] (G)P, (P)G, (G)R G, G(m)G, (RN)S, N R G M, M(DP) G, S, N, NS, N(Sn)DP, DP, PD(NS), (G)P, (P)G… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & […]
• 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 raga (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 nine swaras [SRgGmPdDnS] instead of the minimum seven. Its […]
• 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 Ramdasi Malhar •
S-R-gG-m-P-D-nN-S A diverse sankirna raga, fabled as a creation of Guru Ram Das – a 16th-century Sikh saint said to have opened Emperor Akbar’s eyes to the unity of the divine (“these jagirs [feudal land grants] are sources of evil passions, pride, and ego…it is by the name of God that all creatures, continents, worlds, […]
• Raag Raisa Kanada •
S-R-g-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Manjiri Asnare-Kelkar (2012)— [motifs, e.g. 0:35] n(DSnDn)P, mPDn S\D/n\P, (P)S\mP m\g, (m)gm, m m/n\P/S(n), R(g)S R\nS, (P)nP, P(nmP) m(gm), m(nmP), m\gm, RSR… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• Raag Rageshri Kanada •
S-R-gG-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Rahimuddin Khan Dagar (1990)— [alap, e.g. 0:05] (n)S, (D)S, n(SnSnS)S, (S)GR(GR) SS, SR(Gg)G, G(g)R S, DR (Sn)DnS(nD), G, S(n)S G, (nSn)S S, n(Sn) S(nSDP), mmGG, GmP (S)n S(n), S(nD) (nR)S, (R)S R(nSPn) n(DP), PmmG, GmP (PS)n, (SnSn)n S… • Classifiers • […]
• Raag Rageshri Bahar •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —V.R. Athavale (1988)— [refrain, e.g. 2:48] GmD (Pm)P, P(Gm)G mR(SR) (S)nS mm, GmPmP P(DPmG)m, (P)nD, PD(nDN)S S(NS) nP(mG), S(mG) G(m)R, (S)G G(Pm) GR (S)nS mm… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more […]
• Raag Rageshri •
S-R-G-m-D-n-S Working along the lines of a ‘shuddha Ga Bageshri with shades of Khamaj’, 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, bringing consistent prominence to the shuddha ma (which is often used to […]
• Raag Prabhateshwari •
S-r-g-m-P-D-n-S A seldom-heard raga created by bansuriya Hariprasad Chaurasia, which (to my ears) resembles a blend of the morning Ahir Bhairav and the late night Bageshri. His student Rajendra Teredesai describes it as having “all the hues…beautiful, complex, yet spiritually uplifting…full of pathos and bhakti ras…a state of perpetual divine bliss”. Prakriti with Ahiri, the raga […]
• Raag Prabhat (Bhairav) •
S-r-G-mM-P-d-N-S A morning form 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). Pakad include GmG; rSrS; […]
• Raag Patdeepaki •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ashwini Bhide-Deshpande (2020)— [bandish, e.g. 4:23] S(NS)mg (RS)R NS, S, (N)SS (N)SS, NS(gRgRSRSNS)N (D)NS (NS), PN(N)S S; SS G(m)m, mm(GmG) P(GmGmRmG)G, GGm(G)g/m (R)S, NRSN(SPNS), PN(N)S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more […]
• Raag Pat Bihag •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Yunus Hussain Khan (1998)— [refrain, e.g. 1:35] (PM)P (PM)DP, P/N(SNSN), (NDN)D/S (NS), D(NSNSRNS)N, D(ND) P(DP)G (P)m, Gm, Gm(GPm) m(G)G, R, S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full […]
• Raag Paraj Kalingada •
S-r-G-mM-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kedar & Narayanrao Bodas (2017)— [refrain, e.g. 0:36] N, dP, GmG, N(rSNS) N(N)d N, dP, (P)GmG Md dr(SN)S N(N)d N, dP, (P)GmG (G)M GrS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Paraj •
S-r-G-mM-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2011)— [bandish, e.g. 1:52] dNS, S(rN) S(N) N(SN) (N)d (dP)P (Pd), P(MP)M, d (NSNr)S, S(NS), (rSN) dNS; S(rN)S, PdP, GmG, dNS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• Raag Pancham se Gara •
S-R-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ravi Shankar (1967)— [refrain, e.g. 0:57] (S)NN N(S) N(SN), D(ND) D(PM)P, M(PM) MMP D(SnS) D(SD) P(MP), G m(G) P… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): […]
• 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 offering significant 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 Neelambari •
S-R-gG-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Omkarnath Thakur (~1960s)— [refrain, e.g. 0:51] S(GRmGPm)Gm RS, n(DPD) ngR, Rg(R)S, RS (SN)S, (N)SRgRS, (SN)S n(SD), R, S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 […]
• Raag Nayaki Kanada •
S-R-g-m-P-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shashwati Mandal (2014)— [alap, e.g. 0:58] (nS)R, RRSnSnSR m\g(R) m\g(mgmg)m, m(Pm)P\m mPm/n(Pn)P, m(mnPmPmP)S, (n)S nPn P(m), mPn(Pn)P, P(SnS)nP nPmP, nPm(Pm)nPmP m\g m(g) m(g) g(mg)m… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Nat Kamod •
S-R-G-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shruti Sadolikar (2020)— [refrain, e.g. 1:01] R(mRm)RS R(mPnDn) PmRS R, S(mRmR) SRP mP\m, P(nDnD)P m(GmGR)G, (RG)m, m(DPDP)mP mm G, (R)G G(mGmG)P m(Pm)G (R)m (GmR)R; R(mRm)RS R(mPnDn) PmRS R… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, […]
• Raag Nat Bihag •
S-R-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Waseem Ahmed Khan (2021)— [refrain, e.g. 3:02] G(mG) m/n(D) D(nP)P, P(mPmP), (DPDPmPmPDP)m m(Gm)G, (GR)G GR(GR)m, S(GmGmG)P (P)mG, GmR (N)S, (NSR)N S, G(Pm) m/n(D) D(nP) P… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more […]
• Raag (Shuddha) Nat •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2015)— [bandish, e.g. 3:16] S(N)S S(GR)R, (G)R, (R)G(R) Gm G (RS), (SN)S/S (DS)D (n)DP, P(MDPM)P (PM)P\G R, (G)R G(R), (GR)G mG mGR, (G)R (GR)G RS, S(NS)R, S(NS), (G)R (RGR)G RS(NR)S, S\D… • Classifiers • Explore hidden inter-raga connections: swara […]
• Raag Narayani •
S-R-m-P-D-n-S Adapted from the Carnatic ragam of the same name, Narayani takes the swaras of a ‘komal ni Durga’ (or ‘Khamaj no Ga’). Pa is a nyas, while Dha is rendered deergha (e.g. mPnD, DP), with a general melodic focus on madhya and taar saptaks. Tanarang describes the raga as “soothing”, while Parrikar traces its […]
• Raag Nand (Anandi) •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Budhaditya Mukherjee (2019)— [gat, e.g. 1:29] SGm/D D(PMP), (G)RR S, (N)S, G, G (P)mG (G)P, P(GP) P(MP) D(PMP), GmP D(NPDN) N(DP) D(M) P(MP), P(G)Gm/D(PMP), (G)RR S, S G… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, […]
• Raag Nagadhwani Kanada •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Pandit Jasraj (1977)— [bandish, e.g. 0:58] P(nPn) m(Pm) m(Pmn) n(Pm) g(mgSn) nS, m\g m m(gm)P (m)gm, n(P)P; n(Pm)g g(Pm) m(g)m, m(g) n(S), mmm m(n)P m(g)m; P P/RR, S N(SN)S, D(nDnSnSR) R(SNSnDnDPD)G, (G)P D n S… • Classifiers • Explore hidden inter-raga […]
• Raag Milan Gandhar •
S-gG-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Nazakat & Salamat Ali Khan (1965)— [refrain, e.g. 1:38] SGPDnD PG, (S)n/gS, (S)nS n/g(S), (n)D nDP, DnDn/S, SG n(DnD)PGS, (S)n… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Meghranjani •
S-r-G-mM-N-S As per Abhirang’s performance notes (on his recording of the Pyaari Pyaari Batiyaan bandish), Meghranjani’s swara set is formed by removing the komal dha from Lalit. This produces an even stranger scale form, with two consecutive generic swaras – Pa & Dha – being omitted (a truly rare feature: as far as I can discern, […]
• Raag Medhavi •
S-R-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ali Akbar Khan (1967)— [motifs, e.g. 6:14] (N)SN/S D/NP D/N, D, D, (G)mP, D(NSRS)N, RG(m)m, GR RG G(RS), N(SNSND), D… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Maru Bihag •
S-R-G-mM-P-D-N-S Despite its A-list status (Deepak Raja’s Ragascape research lists it as the 13th most-performed raga), Maru Bihag is a relatively recent invention, at least in its own right – Parrikar notes that “Thakurdas speaks of an older Raag Maru as its progenitor…[but] the Maru Bihag in currency is widely acknowledged to be a product […]
• Raag Manjari Bihag •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Aslam Khan (1989)— [refrain, e.g. 26:36] PNS G\R\S, N(S)N(D)N(S) NDP, PNS G\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 | 6 | 7 […]
• Raag Manj Khamaj •
S-R-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ravi Shankar (1969)— [theme, e.g. 11:13] GmG RS(R), n(S) S(RS) n(S) D, DnSG m, S(NS)N(S), P/nD(P), (m)GmG RS, Gm Pm… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Mangal Todi •
S-r-g-mM-P-d-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shounak Abhisheki (2021)— [bandish, e.g. 5:15] Sr/m grgr, (S)r grS (Sd)nd S; SrgM(dMd) dd, dd(MGrGMdn)S nrS(nSnd) M(dMgrSrg)m, mm/nd(M) g(Mg)r S/r, g\S, nd S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• Raag Mand •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Sultan Khan (1991)— [refrain, e.g. 1:04] GP N/SS S, N(SNRS) N\D DP, N(SNDP)DP; GP G/SS S, N(SNR) N\D DP… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): […]
• Raag Maluha (Kalyan) •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Nikhil Banerjee (~1980s)— [gat, e.g. 18:54] S(NSN) R S(NSD), (n)D, mPD (N)S; S(NSN) RG(RGm) G R(GRS), N(RSNS), n(DnDnD), D mPD, S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full […]
• 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”, […]
• Raag Malayalam •
S-R-G-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ali Akbar Khan (1977)— [refrain, e.g. 20:15] G G, n\dPmP, (G)m, (mPG)m, G, GG G\R, S n\d… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | […]
• Raag Malavi •
S-r-G-M-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Manjiri Asnare-Kelkar (2020)— [refrain, e.g. 1:08] SS(NS)G, (SGMG)M/ND (DND)S, SS, D(ND) S(D)SS, (rS)r r(Sr)S, S(NSD) S(NS)M S(D), D/S(DPDMP)G P(MPD)P P\G… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Madhurkauns •
S-gG-m-d-n-S A fascinating yet sparsely-recorded creation of Kirana vocalist Prabha Atre, matching the swaras of ‘Malkauns double-Ga’ (or ‘Nandkauns no Pa’). The addition of shuddha Ga maintains the original Ga–ni symmetry axis of Malkauns, while also giving more gravity to shuddha ma via upward resolutions of G/m – a feature which forms the basis of […]
• Raag Madhuradhwani •
S-G-m-D-nN-S As per Parrikar, “Durga Khamaj-thaat…is also known [as] ‘Madhuradhwani’…This is not a popular raga, its base eroded by the popularity of Rageshri…[but] is part of the Dagar family repertoire”. While some renditions may skip Ni in ascent, traditional Dhrupad presentation will render it shuddha in aroha and komal in avroh – along with a strong […]
• Raag Madhumad Sarang •
S-R-m-P-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kaivalya Kumar Gurav (2015)— [refrain, e.g. 1:23] m(R)m\R, (m)RS, nR, R(mRPm)RS S… • 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 […]
• Raag Lilavati •
S-r-G-m-P-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Dilshad Khan (1995)— [refrain, e.g. 0:56] Sn(S)r, (r)nS/m, m(PGmG), Sn(S)r, (r)nS/m m(GmrG), Sn(S)r… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | […]
• Raag Lankeshwari •
S-R-gG-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Fareed Hassan (2020)— [refrain, e.g. 5:13] (Sg)R RS nDn S/G, (S)GG (mG)m (RS)R S, S/g RS nD (S)n S(mGPmGm)G, (S)GG (mG)m (RS)R S, S/g RS nD (S)n S(mGPmGmG)G, (S)GG (mG)m (RS)R S, S/g RS nD… • Classifiers • Explore hidden inter-raga […]
• 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 Lakshmi Kalyan •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Deepak Kshirsagar (2019)— [alap phrases, e.g. 4:56] G\R(GR) P\M(PM), (P)MP/N N(DP), R(MR)P (M)P/S\N, S(NSN)S, (M)P/N\S, S S, S(NS), P/S(NSN)R, R R, P/S(NSN)R S(NS) N, P(MPM)D M(PMPM)m(G), G(mGmG)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, […]
• Raag Lachari Todi •
S-R-gG-m-P-dD-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Amjad Ali Khan (2022)— [motifs, e.g. 2:48] RnSRG, G(m), G(mR), (G)m, m, m(GP), P(D) m(P) m(gR), R; P/n n\P, P(d) m(P), m(gR), m P/S n\d, n\d(P) P; P/g S/R, S/g S/R, R\S S(nSP), P(S)n, n/S, n(dP) P; m\R mP(n), D, D, […]
• Raag Kukubh Bilawal •
S-R-G-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (1993)— [alap, e.g. 0:05] G, m(GR) (GR)G (RS)S, S\n D P, (P)N, (N)S; (NS)G G mGR(GR)G RS(NRS), (NS)G mm, mG (GmG)P PP, D(P) D(P) (DP)D Pmm G(mGRG), G(RGmG)PmG mG(m)R, (SNRSN)S… • Classifiers • Explore hidden inter-raga connections: swara geometries, […]
• Raag Khat Todi •
S-r-g-mM-P-d-nN-S In Parrikar’s summary, Khat Todi is described as an “uncommon [double-Ma] prakar…mostly sung by Jaipur-Atrauli and Agra musicians. In the main body of Todi, a small phrase of Khat is introduced” (i.e. the raga is more like ‘Todi seasoned with Khat’ rather than a more evenly-weighted combo). He cites two different Khat strains used by […]
• Raag Khat •
S-rR-gG-m-P-dD-n-S Often described as one of the most complex Hindustani forms, Khat (Sanskrit: ‘six’) is said to combine six different ragas – although it remains unclear precisely which they may be (Subbha Rao’s Raga Nidhi cites either “Suha, Kanada, Sarang, Desi, Gandhari, & Sughrai” or “Ramkali, Asavari, Todi, Gujiri, Baradi, & Gandhari“). Often, Asavari is […]
• Raag Khambavati •
S-R-G-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kishori Amonkar (~1990s)— [refrain, e.g. 4:03] (S)GR (R)m, P D(PD) S, (mDPnDS)R S\n DP, mP P(DPDPmP)D (P)m, R(PmDPm)P (mP)G, S(mR)m, P D(PD) S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• Raag Khamaj •
S-R-G-m-P-D-n-S Among the most popular light-classical ragas, Khamaj’s core form matches the ultra-versatile Mixolydian Mode of Western music. Despite being chosen by Bhatkhande as the titular raga of Khamaj thaat, renditions will usually draw on melodic combinations from outside these main seven swaras. Jairazbhoy discusses the evolution of these ‘mishra‘ features as a natural outgrowth […]
• 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 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 Kambhoji •
S-R-G-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Wasifuddin Dagar (2009)— [refrain, e.g. 0:56] GG, G(mGm)R, SS SGR(GR)G, G(m)R, SSS, SRS\n(Dn), P/S, S(n) S(nSDnD), P(DnD), (S)DD D, (n)D DnDP, DP SD/S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• Raag Kalashri •
S-R-G-m-P-D-n-S Introduced by Kirana legend Bhimsen Joshi by combining Kalavati and Rageshri to span the full seven swaras of Khamaj thaat. His renditions draw mostly from the former raga, setting a strong Pa and recurring GPD movements in an audav aroha, with Rageshri’s imprint mainly evident in the vakra avroh phrase GmRnS (which helps to […]
• Raag Jayant Malhar •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2018)— [motifs, e.g. 3:50] RGmG(R), GRG, G mG(R), G(R), G(RGR), RPm\R m(gmg), m(gPmgm) R(SNSN)R, S(NR)mRP, P(mP)n m(R) m\g R(g)mRS, RGmG(R)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• Raag Jaldhar Kedar •
S-R-m-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —K.G. Ginde (1985)— [refrain, e.g. 1:31] SSRS, DP mP, SSRS, (S)DP, (D)mP, SSRS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | […]
• Raag Jaiwanti Todi •
S-r-g-m-P-D-n-S An Ahiri–prakriti raga introduced by Maharaja Jaiwant Singh Waghela: a hereditary King of Sanand who also gained wide renown as a vocalist, music educator, spiritual teacher, and generous patron of the nascent Mewati gharana (also hear his famous Mata Kalika bandish). Some link its twists and turns to the melodic lineages of Jaunpuri, Todi, […]
• 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 Jaijaiwanti Nat •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bhimsen Joshi (1997)— [refrain, e.g. 2:07] (S)G mGR, (GR)G RS, PNR(NP), (S)G\R (GR)S, S/G, G(mG)G/m GR (GR)S, (S)G\R, R… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): […]
• Raag Jaijaiwanti •
S-R-gG-m-P-D-nN-S A much-beloved but highly intricate raga, featuring both variants of Ga and Ni. Dhrupadyas hold NSDNR as the essential pakad (with some bemoaning the loss of the “slow glide from Ga to Re…as the distinguishing feature of Jaijaiwanti”) – while modern performers tend to ‘enclose’ the komal ga in the avroh phrase RgR, preferring […]
• Raag Hussaini Kanada •
S-R-g-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Pandit Jasraj (~1990s)— [bandish, e.g. 1:11] (P)mP P(DnD)S, n\PP P(mPmn)m\g m, m(nDn)P PP; mPDnSS, S S(nS)D, (nR)S S(RnS)S, P m(Pmgm), mPDnSS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full […]
• Raag Hemant •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Abhishek & Praashekh Borkar (2019)— [themes, e.g. 1:31] NSDNS G, (G)R, S, NSDNS G, mm, mPN\DDD… D/NNN… N\DDD… (N)DNN/S, SS, SS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full […]
• Raag Hem Bihag •
S-R-G-m-P-D-N-S Often cited as an invention of Ravi Shankar, Hem Bihag was in fact devised by his teacher Allauddin Khan – as noted by Shankar & Ali Akbar Khan when they chose it to open a tribute concert just a few weeks on from their guru’s 1972 death, at the reputed age of 110 (below: […]
• Raag Hanskinkini •
S-R-gG-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Soumik Datta (2018)— [gat, e.g. 12:04] PPnn D(n)PP, SGmP, (m)g RR(S)nS… • 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 | […]
• Raag Hameer •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Budhaditya Mukherjee (2017)— [gat, e.g. 0:42] (P)MPD, (P)MPG, RRGm N\D, (N)D, P, (P)MP P(SNS), N(SNS)D P(MP), P(G)R R(GmDPMP), (P)G/mR S, (P)MPD, (P)MPG, RRGm N\D… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Gopika Basant •
S-g-m-P-d-n-S A hexatonic raga of bewitching beauty, Gopika Basant matches the swaras of ‘Asavari no Re’ (or ‘Malkauns add Pa’) – while also inviting shades of Bhairavi from ga upwards. The Sa–ma sangati is strong, and, as noted by Jairazbhoy, descents can mirror the Malkauns scheme of “parallel conjunct tetrachords by oblique use of the […]
• Raag Gaurimanjari •
S-rR-G-mM-P-d-nN-S An intricate ten-toned raga created by Ali Akbar Khan via blending ideas from across the Lalit–Gauri spectrum (Gaurimanjari: ‘Bouquet of Gauris’) – notable for its winding melodic motions and dense, crowded swara-space (some renditions employ all specific positions except komal ga). Its core form also possesses the ultra-rare property of rotational symmetry (i.e. the […]
• Raag Gauri •
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 – spanning a main Bhairav-ang ‘shuddha ma‘ […]
• Raag Gaudgiri Malhar •
S-R-g-m-P-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Pandit Jasraj (~1980s)— [refrain, e.g. 0:56] m(R)R (S)n n(m), mmm P (PmP) m\g(mgm); m(RSnS)R R(S)n n(m), mmm P (PnP) m\g(mgm); RRR(Sn) n(m), mmm P… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Gaud Sarang •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kumar Mardur (2014)— [alap phrases, e.g. 0:06] (RSPMD)P(MP) P(MPMD) P(MP)m G, S(NSN)G (m)G (m)GRG (mGRGR)m G(mG), P(mGPG)P (M)P… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 […]
• Raag Gaud Malhar •
S-R-G-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kishori Amonkar (2003)— [refrain, e.g. 0:47] mP P(DPDPmPDSNS), (SDP)mR m, (m)RS, R(N)S… • 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 […]
• Raag Gara •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ravi Shankar (2001)— [refrain, e.g. 1:12] (SNS)N S(mR) R(mgmgRgRS), (RS)R SS(RS), (nDP)DP (PD)PD N(SN), N(SN), S, (NSR)S (nD)n, R, RR, Rg(Rmg) (R)SS, N(SmRmg), g(RgR), (RSNS)N N(SN), S(mR), R(gRmgRg), (RS)R S(RS), (nD)nD (DPD)PD N(SN), (nD)PDNS NS… • Classifiers • Explore hidden inter-raga […]
• Raag Gandhari •
S-rR-g-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shashwati Mandal (2017)— [refrain, e.g. 4:09] P(d)P/S SS\d PP(d) m(G)m P mP; P(d)P/S SS\d PP(d) m(G)m P(d) mP; P(d)P/S SS\d PP(d) m(G)m P(mRmR) mP(mP)dP… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Durgawati •
S-R-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Hariprasad Chaurasia (1997)— [refrain, e.g. 18:59] D(nDP) mPD, S, nDPm R(n)S, D(nDP) mPD, S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 […]
• Raag Din ki Puriya •
S-r-G-M-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Sanjeev Abhyankar (2002)— [refrain, e.g. 0:03] SS SS(NS) d d(MGMdM), M(G)G (S)rS S; SS SS(NSd) d d(MGMdM), (dMG)M (M)G (G)rS; SS SS(NSd) d… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• Raag Dhanashree •
S-R-g-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shubha Mudgal (1990s)— [refrain, e.g. 2:44] SS(n) n(D)D, D(n)m, (Pmn)P (m)g, (mgm)R RRn S(mgPmnPSnS); SS(n) n(D)D, D(nDn)m, m(PmPn)P, S(nSnDn), n(DnP)P… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Devgiri Bilawal •
S-R-G-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ramashreya Jha ‘Ramrang’ (1989)— [bandish, e.g. 2:16] (N)DP, (GR)G R, (SNR)SNS (S)NS, SRG (R)G, G(Pm)G mGR, (Gm)GR mGP (MPM), (PM)PG, GmnD(n)P (M)P (MPM)P, P(mP)D P(m)G mGR, GR, RGm(G)P, Gm PG, GR, S(NR)S N(DN)S… • Classifiers • Explore hidden inter-raga connections: swara […]
• Raag Desi •
S-R-g-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Aditya Modak (2020)— [refrain, e.g. 1:41] R(SRSnS)R, (m)RP (gRg)Rg R(SR)S, (RS)R (g)S\n S(n)SS, RPmP(mP), D(n)PmP (P)mP, (m)Rg (RS)R S(n)S; mm(nP), mP(Sn)S\nP P(m)P, D(n)mP (m)Rg (RS)R S(n)S, RP (gRg)Rg R(SR)S, (RS)R… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, […]
• 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 Deepak •
(S-R-G-m-P-D-nN-S) Strictly speaking, Deepak is a ‘lost raga’, known to us through its status as Tansen’s fabled fire-bringing melody – said to have set off uncontrollable blazes when he sung it with full force at Emperor Akbar’s royal palace (…and requiring Megh to extinguish it). But, while its original swaras have been lost to the […]
• 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 Chaya Malhar •
S-R-G-m-P-D-N-S Profiled by Parrikar as “a compound melody formed by joining elements of Chaya [particularly its characteristic P\R swoop] to…the Malhar raganga signature [mRm\RP]…The nyas on Pa is important…[whereas] an inapposite nyas on Re or undue brightening of ma may tilt the development towards Nat Malhar”. Listen to his guru Ramrang’s rendition, seasoned with a […]
• Raag Chatuswari Bhavani •
S-R-m-D-S Distinguished by allowing only four swaras (‘chatu’=four, ‘swara’=tones), Bhavani’s symmetrical shape is akin to a ‘Durga no Pa’. Its intriguing surtar sparsity necessitates a multipolar approach to melodic resolution, tempting a murchana-like refocus towards the triads available from Re (RmD: minor) and ma (mDS: major). Associated with the 20th-century experiments of Gwalior vocalist Narayanrao […]
• Raag Chandni Kedar •
S-R-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Budhaditya Mukherjee (2016)— [gat, e.g. 10:06] M(P)M DDP, m(G)m m, M(P)M P(M)P, (S)D D/RS(N)S (D)NDP, M(P)M DDP… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | […]
• Raag Chandni Bihag •
S-G-mM-P-D-nN-S A speciality of the Rampur khayal gharana, which introduces the tense Ma–ni sangati to the basic framework of Bihag, further accentuated by a weak or absent Re – leaving two ‘4-row’ clusters (GmMP & DnNS), arranged symmetrically. Parrikar recounts the “enchanting tonal formulations” of his guru Ramrang’s rendition (passed down by his own guru Bholanath […]
• 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 many […]
• Raag Bilawal •
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 Bihari •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shruti Sadolikar (2012)— [refrain, e.g. 3:17] (N)S, S(m)R (P)m (D)PD, Pm m(PmP) D(nDP)mG, G(RSR)S, S, S\P, P(NS) S(N)R S, SS(m)R (P)m (D)PD (nD)Pm… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• Raag Bihagda •
S-R-G-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2000)— [refrain, e.g. 3:57] (PmP)Gm P\G, G(mG)m, Gm(G)m/n D(nD)P, DP(P)DPm, mPGG, (SR)N (N)S, (GPGDP) P(GP)S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | […]
• Raag Bihagara •
S-R-G-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ashwini Bhide-Deshpande (2016)— [refrain, e.g. 2:17] SGm P/N N(RSNS) N DP, P(mP)G; SGm P/N N(RSNS) N DP, P(mP) G(mP)G; SGm P/N N(RSNS) N DP… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• 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 Bhairav Bahar •
S-rR-gG-m-P-D-nN-S A ten-toned multi-jod raga, Bhairav Bahar’s descent blends the melodic signatures of several disparate ragas – although, as per Darbhanga Dhrupad vocalist Premkumar Mallick, flavours of Bhairav should dominate. Bose gives a vadi–samvadi of ma–Sa, while also mentioning the existence of an alternate ‘double-Dha’ version (thus allowing for the use of every swara position […]
• Raag Bahaduri Todi •
S-rR-g-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Mallikarjun Mansur (~1990s)— [bandish, e.g. 0:01] R, nS Rg(gRgm), m m, m\gP Pmgg, g\r(g)SS, SR/g\rr, r r(g)SS, (S)r nS, S(r)SR(g)rr, S\n\d(nd), n(dnd), d mm, m\gP, m(d) P(nd)d, d(P)P, mP, mPm(g)g, gm mP, Rg SR, nSRg (gRg)m m\gP… • Classifiers • Explore […]
• Raag Alhaiya Bilawal •
S-R-G-m-P-D-nN-S While essentially summarisable as ‘Bilawal plus komal ni’, Alhaiya also presents other quirks. 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 ‘up-and-down’ phrases such as SNDP, […]
• Raag Ahir Lalit •
S-r-G-mM-D-n-S Introduced by Ravi Shankar, drawing from the swara material of three morning ragas: Ahiri, Ahir Bhairav, and Lalit. As per Deepak Raja, “for most listeners, Ahir Lalit will be unable to escape the shadow of Ahir Bhairav over the Lalit facet of the raga…since Ahiri is heard mainly as a Bhairav / Ahir Bhairav […]
• Raag Adarangi Todi •
S-r-g-mM-P-d-nN-S A double-ma, double-ni Todi variant linked to 18th-century composer Naimat Khan ‘Sadarang’ and his nephew Feroze Khan ‘Adarang’, who served at the court of Mughal Emperor (and prolific arts patron) Muhammad Shah. While the raga’s historical lineage remains half-sketched, Ali Akbar Khan took to performing it later in his career. Sometimes given the alternate […]
• Raag Ahiri •
S-r-g-m-P-D-n-S Somewhat resembling a ‘Bageshri komal re’, ‘Ahir Bhairav komal ga’, or ‘Bhairavi shuddha Dha’, Ahiri favours long, kaleidoscopic melodies, laden with shapes from proximate ragas. Artists may seek to accentuate the ‘equilateral triangle’ of nyas (r–m–D: an augmented triad), also drawing from its murchana-set neighbours Patdeep, Charukeshi, and Vachaspati. Matches the Carnatic Natakapriya, although origins remain […]
• Raag Tivrakauns •
S-g-M-d-n-S Seemingly a one-off experiment by rare raga connoisseur Abhirang, formed by changing Malkauns’ shuddha ma vadi to its tivra variant. This shift renders both Sa and Ma ‘detached’ (i.e. with no swaras either 7 semitones above or below them: a property shared by only Harikauns and Sehera), meaning that conclusive resolutions towards the raga’s […]
• Raag Rasikpriya •
S-gG-M-P-nN-S A direct borrowing of Carnatic music’s 72nd melakarta scale: which, as the final position on the wheel, has all its swaras set to their highest available positions. In Hindustani music, the equivalent principle would produce Yaman (SRGMPDNS), but the South Indian system allows three variants for each of Re, Ga, Dha, & Ni, with […]
• Raag Meladalan •
S-r-g-mM-d-n-S A truly oddball creation I stumbled upon in Subbha Rao’s 1965 Raga Nidhi Vol. 3: “Meladalan and ‘Thatavidhwamasa’ are pseudo-names which Acharya Brahaspati…has given to a raga the identity of which [he] wants to keep unpublished for certain reasons. He points out, however, that it is an ancient raga which he wants to bring […]
• Raag Sakh •
S-R-G-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Amanat & Fateh Ali Khan (1970)— [bandish, e.g. 1:28] Gm, m (GmRSn)D, (n)D Sn/S, (nSn)RS, SS, RS S (nS) S(nRnS) (nD)n n(DnD)SD (D)n, n\DS S, S(RSR) R(GR) S\n(RS), G (mG)m m (mGmRn), P\m P\m S/P\G G, P(G) D(P) (P)S\n (SnSnS)D, (PS)D […]
