S-R-G-m-P-D-N-S Dagori draws from Bilawal thaat, featuring prominent use of shuddha Ni and characteristic slides and glides between ma and Re. Seemingly invented by Jaipur-Atrauli gharana founder Alladiya Khan (and still near-exclusively performed by the khayal singers of that tradition), some seem to classify the raga as a Bilawal–ang interpretation of the now-lost Deepak (Tansen’s […]
• Raag Dagori •
• Raag Bheem •
S-R-gG-m-P-D-n-S Near-identical to Gaoti, Bheem is sometimes said to be distinguished by its allowance of komal ga in taar saptak (…although I’ve encountered plenty of Gaoti renditions with this characteristic too). Tanarang notes that “in uttarang, komal ni is always rendered [via a] meend from Sa, as a kan-swar like GmP, (S)nS…Similarly in Avroh, ni is […]
• 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, catalysed by the untimely passing of legendary vocalist Amir Khan the same year. 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 […]
• 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 of […]
• 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 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 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 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 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 Sampurna Malkauns •
S-R-g-m-P-d-n-S More of an umbrella term for assorted ‘sampurna-modified Malkauns’ renditions than a specific form (i.e. with Re and Pa added, thus completing the sapta swara). As per Deepak Raja: “Amongst the various manifestations of the concept, the most celebrated is that of Kesarbai Kerkar…[which] uses 9 swaras [SRgGmPdDnS] instead of the minimum 7. Its […]
• Raag 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 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 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 Pancham Malkauns •
S-g-m-P-d-n-S A loose collection of melodic strands which fall under the general banner of ‘Malkauns with Pa in avroh’ (thus sharing conceptual overlap with Kaunsi Kanada and Sampurna Malkauns). Ascents typically stay true to the pentatonic structure of Malkauns, and the Pa is usually rendered in vakra avroh lines (e.g. ndmgmdP or gmdndmP). Beloved by […]
• Raag 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 Northern […]
• 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 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 of the modern era), 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 [today] is widely […]
• Raag Malgunji •
S-R-gG-m-P-D-n-S Roughly describable as a ‘Khamaj–ang Bageshri with a Rageshri-like shuddha Ga in aroha’, Malgunji is a multicoloured form, beloved by Gwalior vocalists (as well as Maihar sitarist Nikhil Banerjee). Some artists also feature a vivadi of shuddha Ni (often as mDNS, likely indicating the influence of Gara). Tanarang, aiming to evoke a “deep atmosphere”, gives […]
• Raag Malayalam •
S-R-G-m-P-d-n-S A barely-documented morning raga created by Ali Akbar Khan sometime around the 1970s – named in honour of his mother (‘Malaya’) and father (‘Alam’: also the name of Khan’s son, born in 1982) [n.b. the Tamil-derived Dravidian language family of the same title is of a separate etymology, derived from ‘mala+alam’: ‘the land near the […]
• 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 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 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 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 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 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 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 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 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 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 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 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 Bhavani •
S-R-m-D-S Distinguished by permitting only four swaras (and sometimes titled ‘Chatuswari’: ‘four-toned’), Bhavani’s symmetrical shape is akin to ‘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 […]
• Raag Chandrakaushiki •
S-R-g-m-P-d-nN-S An invention of sitarist Nikhil Banerjee, seemingly combining Chandrakauns and Kaushik. Expanding on a Malkauns base, the Kaunsi Kanada-like shuddha Re opens up a broader array of intervals to and from the twin-Ni positions – with the komal dha playing a similarly vital role below. (n.b. While some online sources refer to the raga as having […]
• 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 Bihagda •
S-R-G-m-P-D-nN-S A Khamaj-seasoned Bihag variant with historic connections to the Carnatic Behag, which appears in several overlapping variants. Raja notes that the raga’s main ‘double-Ni’ form (indistinguishable from some interpretations of Khokar) is associated with Jaipur-Atrauli vocalists, who apply a pakad of Gm PDnDP, GmG PmPG, and limit Bihag’s tivra Ma to swift ornamental movements […]
• 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 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 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 Madhumad Sarang •
S-R-m-P-n-S Running along the lines of ‘Brindabani Sarang with komal ni only’, Madhumad Sarang is among the principal incarnations of its raganga (‘Madhumad’ derives from the Sanskrit ‘madhyamadi’, meaning ‘first’: the Carnatic equivalent is similarly titled ‘Madhyamavati’). Ma and Pa are strong, and the uttarang summons natural upward momentum via clusters such as PSn, PnS, […]
• Raag Reva •
S-r-G-P-d-S A rare pentatonic raga, Reva is often described as the ‘evening counterpart’ to Bibhas (or the ‘jawab to its sawal’), matching this samay designation by taking after the Poorvi–ang rather than Bibhas’ Bhairav-ang roots. Chiefly, its movements are distinguished from Bibhas via poorvang-focused sangatis including Gr; rS; SrrS, along with a greater exploration of […]
• Raag (Shuddha) Nat •
S-R-G-m-P-D-N-S Described by Parrikar as “singular for its unabashed promiscuity”, Nat is perennially popular as a jod ingredient (see Nat Bihag, Nat Bhairav, Nat Kamod, Chayanat, and Jaijaiwanti Nat). The raga has likely origins in the age before Hindustani and Carnatic music’s bifurcation (while seemingly being unrelated to the Southern ‘Nata’), although renditions of its […]
