S-r-g-m-D-n-S A mellifluous modern form created by Ravi Shankar in 1968 (…via backseat car-ride boredom in Bengal). While somewhat resembling a ‘komal re Bageshri’, its hexagonal structure summons its own colours and tensions – with early performances exerting hidden influence on countercultural icons including George Harrison. A captivating scale, ripe for open-ended experiments. Also see […]
• Raag Parameshwari •
• Raag Puriya •
S-r-G-M-D-N-S A prominent sunset raga, Puriya takes the same six swaras as Marwa and Sohini, reworking them to bring a distinct set of melodic forces. Renditions tend to focus on the low and middle octaves, seeking a fine balance between ascending and descending phrases. Some describe its mood as one of ‘sombre piety’, while others […]
• Raag Marwa •
S-r-G-M-D-N-S Notable for omitting its own Sa for long stretches, the hexatonic Marwa conjures moods of ‘austere, spiritual renunciation’ – summoning these sentiments with low, slow lines which patiently outline the raga’s highly irregular geometry (three adjacent plus three wide-set swaras). Its descent-dominant melodies often tease at resolutions which never fully arrive. Congruent with Puriya […]
• 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 Lalit •
S-r-G-mM-d-N-S Lalit is an oddly-shaped sunrise raga. Among the most influential forms in Hindustani history, its distinctive ‘double Ma, no Pa’ structure has a malleable ambiguity, capable of conjuring flavours ranging from “sadness and anguish to the serene and devotional”. The evenly-weighted treatment of the twin ma swaras leads some to see the tivra as […]
• Raag Antardhwani •
S-r-g-m-d-N-S Among the youngest ragas to have found global acclaim, Antardhwani (‘sound of the inner self’) was unveiled by Shivkumar Sharma in the 1990s, who discovered its unique hexatonic shape by chance while retuning his santoor. Drawing from the geometries of Bhairavi, the raga is adored for its calming, meditative flavours, partly inspired by the […]
• 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 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 Gujiri Todi •
S-r-g-M-d-N-S A popular Todi variant named for its association with Gujarat, India’s Westernmost state. Linked to the morning hours, it takes a similar swara set to the main Todi, distinguishing itself by omitting Pa throughout. Dagarvani beenkar Bahauddin Dagar chooses to intone the raga’s Sa with a slightly higher sruti than that of the tanpura, adjusted […]
• Raag Deen Todi •
S-r-g-m-D-n-S A near-extinct raga of uncertain origin, Deen Todi takes an ‘Ahiri no Pa’ form. Best preserved via an astonishing rendition by Kamalesh Maitra on the tabla tarang (a semicircle of 13 sruti-tuned dayan drums), accompanied by a multiphonic cluster of tanpura drones (tuned DnrS). Parveen Sultana has also sung it live, and seems to have […]
• Raag Chandrakauns •
S-g-m-d-N-S Chandrakauns is a spacious raga of relatively modern origin, only becoming distinct from divergent strains of ‘shuddha Ni Malkauns’ by around the mid-20th century. This ni-for-Ni replacement removes much of Malkauns’ symmetry and intervallic balance, with the chromatic leading-tone resolution (Ni>Sa) bringing more prominence to both swaras. Due to these sharper tensions, it is […]
• Raag Sundarkauns •
S-g-m-D-n-S Taking the shape of ‘Malkauns shuddha Dha’ (or ‘Harikauns shuddha ma’), Sundarkauns’ swara set has, as per Tanarang, been unjustly sidelined by previous generations as a ‘Bageshri-ang Chandrakauns’ (“A misnomer…this raag has [neither] a shuddha Ni indicating Chandrakauns, nor [an] avroh like Bageshri…[so] it couldn’t gain much popularity”). He describes his revival of this intriguing audav […]
• Raag Viyogavarali •
S-r-g-m-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —K.G. Ginde (~1980s)— https://www.parrikar.org/music/todi/ginde_viyogavarali.mp3 [bandish, e.g. 0:02] dmg\r (g)rS, md(SN)S N\d, gr (g)r r\S; (S)r r(gr) Srm md(NSrS)g rS, (g)r (g)r (r)S; dmg\r (g)rS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Tulsikauns •
S-g-m-d-nN-S A barely-recorded creation of Maihar sitarist Kartik Kumar, matching the swara-set of ‘Malkauns double-Ni’ (or ‘Malkauns + Chandrakauns’). A consistently strong ma–murchana summons unmistakable flavours of the famous Western ‘Blues Scale’ (SgmMPnS), further accentuated by extended meend between the consecutive Ni positions (…I’ve used the exact same scale as a ‘modal sitar hack’ to […]
• Raag Sohini •
S-r-G-M-D-N-S Sharing its six swaras with Marwa and Puriya, Sohini aims for a looser, more sprightly flavour to these more famous congruents – focusing on agile movements in madhya and taar saptaks, and uttarang-based phrases built on a strong Dha–Ga sangati. Re is banned in aroha, and Sa assumes greater strength than in Marwa, while […]
• Raag Rasaranjani •
S-R-m-D-N-S A rare, oddly-shaped audav raga formed by omitting Ga and Pa from Bilawal thaat – essentially, ‘removing the major triad from the major scale’ (it can also be seen as ‘Chatuswari Bhavani plus Ni’, Rajeshwari Re-for-ga’, or ‘Durga Ni-for-Pa’). Vocalist Sakuntala Narasimhan, introducing a brief drut khayal, cites Rasaranjani as an invention of her […]
• Raag Rajeshwari •
S-g-m-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Adnan Khan (2022)— [gat, e.g. 1:31] D(ND) mDNS, N(D), m(g)g (SN)S; (SN)S/g gm, (mgm)Sgm g\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 Raj Kalyan •
S-R-G-M-D-N-S A ‘Kalyan no Pa’ melody devised by Gwalior vocal innovator Vasantrao Deshpande (although he may well have seen it more like a ‘Marwa shuddha Re’). Parrikar describes how “the relief-inducing nyas on Pa is missing, giving a ‘restive’ persona”, while Ocean of Ragas gives a pakad of GmD, DmGR, NRS (also noting its congruence […]
• 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 Mangal Gujari •
S-r-g-M-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Abhijith Shenoy ‘Abhirang’ (2014)— [refrain, e.g. 2:02] (gM)g M(dM) (gMdM)d d(MdMdnd), Sgd\M(dM) M(dM) M\g, M(grg)r r(gMrg)rS S, (SrgMdM)d g(rgS), (MgM)g M(dM) (ndn)d… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• Raag Malti Basant •
S-r-G-mM-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2015)— [bandish, e.g. 1:44] S(NrN)S/M G(MGr)S, DN(S)ND, DNrS, S, S(rSNS) N(D), NrS, S(NS)m (MmMmG)G, SGM/N\DMG, (S)MGS, S(NrS)MG, S(NS) DN, D(ND)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• 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 Lankeshri Kanada •
S-r-g-m-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Latafat Hussain Khan (~1980s)— [refrain, e.g. ] • 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 | […]
• Raag Lalita Sohini •
S-r-G-mM-D-N-S A blend of the early-morning Lalit and late-night Sohini, with the melodies of the latter dominating the aural impression, reportedly created by Agra vocalist Yunus Ahmed Khan in the mid-20th century. Raja notes that “while Sohini is a resident of the upper tetrachord, Lalit is a resident of the lower tetrachord. Thus, the resulting melodic entity […]
• Raag Kaushik Dhwani •
S-G-m-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Rashid Khan (2012)— [bandish, e.g. 2:34] S(GmDNS) S(ND), D(ND)m, mG, (G)S D(SnS), S(GmDNS) S(ND), DNDm, mG… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 […]
• Raag Jogeshwari •
S-gG-m-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ravi Shankar (1980)— [gat, e.g. 0:02] (S)n D m, GmG (m)g/m, nSDn g\S, Gm GmD, D(nSn)D, m… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | […]
• Raag Imratkauns •
S-R-G-m-d-n-S Devised by Imdadkhani sitar and surbahar virtuoso Imrat Khan, with a swara set resembling ‘Charukeshi no Pa’. This mid-scale space gives a strong poorvang–uttarang separation, amidst the strange geometric regularity of the consecutive ‘2-2-2-2’ run (dnSRG: just a ma-to-Ma nudge from matching the whole-tone scale, a.k.a. Sehera). Ga is strong throughout, often setting up […]
• Raag Hindol •
S-G-M-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Pandit Jasraj (2002)— [refrain, e.g. 0:48] SM G, MGS, S(NS)D (N)SS; S(D) S(D)S (N)S, (S)G (G)SS; (S)MGGMD (M)SDDMG, MGS; SM(GM) G, MGS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• Raag Harikauns •
S-g-M-D-n-S Among the strangest of pentatonic scales, Harikauns resembles ‘Madhukant no Re/Pa’ or ‘Madhukauns with Dha-for-Pa’ (or ‘Malkauns with the middle two swaras raised’) – forming a ‘diminished square’ of 3-semitone jumps (SgMD) plus a (symmetry-destroying) komal ni. Aside from a natural uttarang focus, the raga allows for near-complete freedom of motion – but presents inherent […]
• 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 Chandrakaushiki •
S-R-g-m-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 […]
• Raag Bhinna Shadja •
S-G-m-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kishori Amonkar (1989)— [themes, e.g. 0:39] m, mG, N/G m/D(ND)G, G(R)Gm, (SG)m, G(m), G(RS), N/G G/m m/D(NSN), NN DG(m), m, mG… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full […]
• 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 Adbhut Kalyan •
S-R-G-D-N-S An uncommon Kalyan variety, named Adbhut (‘of wonder’) for omitting two of Kalyan’s most vital swaras (Ma & Pa). Remains popular among artists of the Dagarvani Dhrupad, but few others have risen to the centreless challenges of losing both mid-saptak swaras. Aminuddin Dagar reportedly considered the raga to be an offshoot of Khem Kalyan – […]
• Raag Amrut Ranjani •
S-gG-m-dD-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Bapat (2003)— [refrain, e.g. 7:44] GmnD, (m)dmGm gSnS GmnD, (m)dmGm gSnS GmnD… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | […]
