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 Todi •
S-r-g-M-P-d-N-S Pivotal to Hindustani history, the Todi raganga overflows with musical ideas found nowhere else on the planet. Some link its ambiguous geometries with “existential unsettlement”, while others hear “the playfulness of a newborn, content and smiling”. Rajan Parrikar hails it as “the most profound, finespun idea in melodic music…from ecstasy, to frolic, to pathos, […]
• 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 Shree •
S-r-G-M-P-d-N-S According to Gwalior vocal master Omkarnath Thakur, Shree is associated with those sunset hours when “disembodied spirits…become active, and aid in the black magic of Tantriks”. Tied to ancient mythologies of Lord Shiva, the raga takes its name from ‘Sri’, a sacred Sanskrit syllable which in Vedic tradition represents the material nature of humanity’s […]
• Raag Puriya Dhanashree •
S-r-G-M-P-d-N-S Like the scale-congruent Shree, Puriya Dhanashree’s hemitonic clusters outline a major triad (SGP) with the first and last steps ‘enclosed’ by their immediate neighbours to give two sets of three adjacent swaras (NSr, MPd). Pa exerts the strongest gravity, easing the tension of the tivra Ma and providing temporary anchor for melodic lines which […]
• 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 Multani •
S-r-g-M-P-d-N-S Multani is an afternoon raga of angular shape and ancient heritage: the name suggests origins in the Multan region, long heralded as a holy site by Hindus, Sikhs, and Sufis alike. In Deepak Raja’s reflection, its Todi-congruent swaras fit with “oppressive afternoon heat…the virtual wilting of the body and mind under the remorseless tyranny […]
• 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 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 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 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 Basant Mukhari •
S-r-G-m-P-d-n-S Blending the poorvang of Bhairav (SrGm) with the uttarang of Bhairavi (PdnS), Basant Mukhari bears the imprints of multiple musical cultures. While its main modern inception is traceable to S.N. Ratanjankar’s eclectic Carnatic borrowings, some also link it to the near-extinct Raag Hijaz, itself derived from Arabic maqam. Scale-congruent forms turn up across the […]
• 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 Ahir Bhairav •
S-r-G-m-P-D-n-S Inextricably linked with the Indian sunrise, Ahir Bhairav draws on ideas from both the North and South of the Subcontinent. Possibly named for the Ahir cattle-herding caste, the raga is fabled to mimic the ringing of cowbells at dawn – with patient ascent patterns often settling into extended oscillations on the komal re (seen […]
• 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 Prabhakali •
S-r-G-m-P-d-n-S A modern Ali Akbar Khan creation, prakriti with Basant Mukhari. As per the liner notes to the raga’s 1964 LP release, “It permits only five notes in aroha, dropping [Ga & Ni]. For avroh, it admits all the seven notes…[re & dha] are flats as in Bhairav, and hence it is essentially a morning melody. […]
• Raag Nat Bhairav •
S-R-G-m-P-d-N-S Associated with Ravi Shankar’s 20th-century experiments (although not, contrary to common perception, directly invented by him), Nat Bhairav is named for its combination of Nat in poorvang and Bhairav in uttarang. Flavours of Bhairav tend to dominate, including an ati-komal dha and vakra phrases resolving with GmRS (adapting Bhairav’s GmrS). Expounded mainly in madhya saptak, its […]
• 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 Madhuvanti •
S-R-g-M-P-D-N-S A shringara raga of recent origin, Madhuvanti is geared towards evoking a ‘sweet’ flavour (‘madhu’ means ‘honey’). Rajan Parrikar cites “shared credits for its development…Vilayat Khan is said to have conceived it [in the] 1940s…and around the same time, Vamanrao Padhye of Kolhapur composed a similar raga and called it Ambika, after the Goddess”. […]
• Raag Kirwani •
S-R-g-m-P-d-N-S Despite its congruence with the Western Harmonic Minor, Kirwani has origins in the Carnatic Keeravani: thus leading to its popularity in North-South jugalbandi duets, offering artists from both cultures a rich expanse of shared melodic territory. Like many Southern imports, Kirwani is comparatively ‘open’, allowing for near-free use of all seven swaras in ascent […]
• 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 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 Annapurna •
S-r-g-M-P-d-N-S From my 2018 Darbar interview with bansuri maestro Rupak Kulkarni: “I lately composed…Raag Annapurna: dedicated to Maa Annapurna Devi, my grand-guru [teacher of my teacher]. It is a combination of morning and evening ragas, so can be played at either of these times.” In 2022 I asked Kulkarni for more info: he described it […]
• 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 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 Tankeshree •
S-r-G-M-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Omkarnath Thakur (~1960s)— [refrain, e.g. 0:09] rS(rS)N SG(Gr), (P)G/P(MG), (P)G G(Gr) (S)PGP(G), G(Gr), (S)PGP, GrS, NNd, (N)dNd SN(Sr), S(d) dP(GPG), SGP, GrS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• 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 Shuddha Basant •
S-r-G-M-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kushal Das (2014)— [refrain, e.g. 0:10] D(SNR)S N(D), (NS)S (Gm)m D(SNR) (N)S N(D), M, m… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | […]
• Raag Shree Kalyan •
S-r-G-M-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bhuvanesh Komkali (2016)— [Swaras] • 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 | 8 | 9 | 10+ Sapta: Audav […]
• 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 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 Rampriya •
S-r-G-M-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Amir Khan (~1960s)— [Swaras] • 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 | 8 | 9 | 10+ Sapta: Audav […]
• 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 Puriya Kalyan •
S-r-G-M-P-D-N-S Effectively combining the poorvang of Puriya Dhanashree with the uttarang of Yaman, Puriya Kalyan covers the seven swaras of Marwa thaat. Pa is prominent in descent, but may be skipped in Kalyanic ascending passages such as MDNS – and Sa is often omitted in both upward and downward motions, with mandra saptak Ni favoured as […]
• 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 Nat Kamod •
S-R-G-m-P-D-N-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 (Shuddha) Nat •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2015)— [Swaras] • 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 | 8 | 9 | 10+ Sapta: Audav […]
• 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 Mangal Bhairav •
S-r-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ronu Majumdar (2013)— [motifs, e.g. 11:11] S(D)S(D)S SDPDS; PDrrS(NS), (P)DrrS… • 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 | 8 […]
• 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 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 Madhukant •
S-R-g-M-P-D-n-S An oddly-shaped and thinly-analysed sampurna raga, taking the shape of ‘Madhuvanti’s poorvang + Kafi’s uttarang’ (or ‘Kafi tivra Ma’). Analysed by Jairazbhoy in 1971: “Ragas in which the Pa has a leading note [MP], while the Sa does not [nS]…Madhukauns and Madhukant are both modern ragas which appear to be evolving rapidly…Madhukant [is] unstable […]
• Raag Khambavati •
S-R-G-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kesarbai Kerkar (~1950s)— [swaras] • 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 | 8 | 9 | 10+ Sapta: Audav […]
• 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 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 Jaiwanti Todi •
S-r-g-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Pandit Jasraj (~1990s)— [refrain, e.g. 0:18] r(S) D(nD), g\r(gr)S rm, PDP(mPm) m(g) g(r) r(S)S, r(S) D(nD), g\r(gr)S rm… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 […]
• Raag Jaitashree •
S-r-G-M-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2015)— [bandish, e.g. 1:13] SG (M)G/P, P(MPM)d PMG r, SrN\d P; S(M)G (P)G/P, P(MP), P(MPM)d dM MG Gr, S(NSMGMG)P P(MdPMG) M(GM), GrS G… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more […]
• 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 Hemavati •
S-R-g-M-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Hariprasad Chaurasia (1998)— [refrain, e.g. 12:23] (R)gR n(Dn)P S, gMP S, PnSgR(gR) n(DnD)P, (R)g(RSn)R, (R)gR n(Dn)P S, gMP S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): […]
• 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 Gunjikauns •
S-R-G-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Sarahang (?)— [Swaras] • 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 | 8 | 9 | 10+ Sapta: Audav | […]
• Raag Gauri Basant •
S-r-G-M-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kumar Gandharva (1974)— [refrain, e.g. 2:27] PP(GP) Gr, G rS, PP(GP) Gr, G; PP(GP) Gr, G; GP(d) (d)P P(MPG)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): […]
• 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 Gaud Malhar •
S-R-G-m-P-D-N-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 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 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 Dakshinatya Basant •
S-r-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Anuradha Kuber (2009)— [refrain, e.g. 0:29] (D)S N(D)D N(S)D, m(Gm) G(r) r(Sr)SS… • 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 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 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 Gaud Malhar). Dha and Ga assume vital […]
• 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 Bhatiyari Bhairav •
S-r-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ramashreya Jha ‘Ramrang’ (2007)— [refrain, e.g. 1:56] GmPD, N(S)D D(Pm)P m(PDP), P(GP)GmGr 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 Basant •
S-r-G-M-P-d-N-S Basant (meaning ‘Springtime’) is a historic and highly influential form, with a lineage stretching back to at least the 8th century. The raga’s modern incarnation matches the swaras of Poorvi thaat, with shades of shuddha ma also permitted in some interpretations (e.g. SmmG; mdrS). Phraseological allies include Puriya (GMdNM; mdGmG) and Shree (e.g. NrS; […]
• Raag Baradi •
S-r-G-M-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Anandrao Limaye (~1980s)— [motifs, e.g. 6:42] P P(DPMP) S, S(P) P(SPrS)G r, r\S S; (Nr)S\D D\P P\G G(SGMPM)P… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 […]
• Raag Anjani Kalyan •
S-R-g-M-P-D-N-S A creation of vocalist Ramashreya Jha ‘Ramrang’, named in honour of Lord Hanuman. As per his student Rajan Parrikar, “the basic idea involves rendering the aroha of Madhuvanti sampurna, by taking in both [shuddha] Re and Dha. The aroha contour thus…permits the advance of Kalyan-like clusters”. Abhirang’s rendition of Ramrang’s bandish (below: Hanana Hanumana […]
• 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 […]
