S-R-G-m-P-D-nN-S A seldom-heard neighbour of Khambavati, distinguished (often very subtly) by stronger use of shuddha ma, and sometimes involving a Gm\S catchphrase. Both ni swaras are used, with the komal introduced via vakra avroh motions (e.g. SRn). Named after a huge evergreen tree species with fragrant yellow-orange flowers, used in perfumery and featured in myths […]
• Raag Champak •
• Raag Kukubh Bilawal •
S-R-G-m-P-D-nN-S A Bilawal variant seasoned with poorvang shades of Jhinjhoti and Jaijaiwanti, which enjoys a notable presence in the Jaipur-Atrauli gharana. Shuddha Re typically takes centre stage, often ornamented from above as (G)R. Distinguishing phrases include SNS(G)R, GRGPmG, mGRGS(G)R, with most other movements falling into the framework of Alhaiya Bilawal (although the Agra interpretation tends […]
• Raag Khambavati •
S-R-G-m-P-D-n-S A loose mixture involving Jhinjhoti, Khamaj, and Mand, with different renditions emphasising varied facets of these ragas. The movements of the former tend to predominate: as per Deepak Raja, “normally performed in slow or medium tempo, with low to medium melodic density…an instant identification of Khambavati, as distinct from Jhinjhoti, requires consummate musicianship. This […]
• Raag Nand •
S-R-G-mM-P-D-N-S Associated with Lord Krishna, Nand (also known as ‘Anandi’ or ‘Anandi Kalyan’) rose to prominence around the turn of the 20th century – initially gaining renown through a pair of bandishes by Mehboob Khan ‘Daraspiya’ (Dhundu Bare Saiyan) and Vilayat Hussain Khan ‘Pranpiya’ (Ajahun Na Aye). Aarshin Karande describes the raga as being “regarded […]
• Raag Surdasi Malhar •
S-R-m-P-D-nN-S A combination of melodies from the Malhar and Sarang ragangas, said to have been created by Saint Surdas: a blind 16th-century poet-musician renowned for his evocations of Krishna amidst themes of shringara and bhakti. The raga which bears his name is described by Tanarang as “uttarang-pradhan, with general movement around taar Sa…[lyrics] are dominated […]
• 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 Jogeshwari •
S-gG-m-D-n-S A low-high combination of Jog and Rageshri (SgGm+DnS) invented by Ravi Shankar and first released on a stellar 1980 album – although he was performing it at least 5 years before this: e.g. a 1975 rendition from an all-night concert in Varanasi. Jog’s strong shuddha Ga dominates the poorvang, while motions towards the uttarang […]
• Raag Jansammohini •
S-R-G-P-D-n-S Broadly running along the lines of ‘Kalavati plus shuddha Re’ (especially in avroh), Jansammohini is a captivating Southern import. As per santooriya Tarun Bhattacharya, “This [scale] was originally called ‘Siva Kalyan’, but the raga went out of circulation. Having heard the Carnatic Jansammohini, my guruji Ravi Shankar brought it back [under] the Carnatic name. […]
• 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 Barwa •
S-R-g-m-P-D-nN-S An Agra gharana speciality, Barwa blends ideas from Kafi (mP, mgR; mPDNS), Sindhura (SRmP; Pg), Desi (RPRg), and Miyan ki Malhar (nDNS). The komal ga tends to be omitted in aroha, and ma is rendered deergha, while the Malharic Re–Pa pair is often given as the vadi-samvadi. Traditionally associated with the late morning hours, […]
• Raag Tivrakauns •
S-g-M-d-n-S A novel 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 two […]
• Raag Rasikpriya •
S-gG-M-P-nN-S A direct borrowing of the Carnatic mela #72: which, as the final position on the wheel, has all its swaras set to their highest allowable 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 the highest Re/Dha […]
• Raag Ek Prakar ki Kauns •
S-gG-m-d-nN-S An invention of Imdadkhani sitarist Rais Khan (who, with a pleasing lack of pretention, named his new raga ‘A Type of Kauns’). From Martyn Clayton’s excellent liner notes to a 1985 Navras recording: “Indeed an unusual raga…Rais Khan’s ‘Ek Prakar ki Kauns’ is based on Malkauns, but incorporates two extra notes [shuddha Ga & […]
• 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 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 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 swara set but focusing more on the use of shuddha Dha as a melodic endpoint – as well as a stronger and more consistent role for Pa. Usually classed as a member of the […]
• Raag Rang Malhar •
S-R-mM-P-D-nN-S From my 2018 Darbar interview with Rupak Kulkarni: “Rang Malhar happened by chance. It was the rainy season, and I was playing in a monsoon festival. I was the last performer, and by the time my turn came then all types of Malhar family ragas had been played already. I thought I should come […]
• 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 (albeit in its somewhat less common ‘komal dha-less‘ form). Pilu’s doubled gG–nN swaras, separated by a perfect 5th, are thus spun into nN–mM (i.e. the murchana’s principal effect is to […]
• Raag Nat Bhairav •
S-R-G-m-P-d-N-S A direct combination of Nat in poorvang and Bhairav in uttarang (SRGm+PdNS), Nat Bhairav was sitar icon Ravi Shankar‘s first raga creation, released in the pre-Independence music scene of 1945 – inspired by Shankar hearing an allied theme sung in a lecture-demo by legendary musicologist B.R. Deodhar (read the full origin tale below). Flavours of Bhairav […]
• 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”. Basing his analysis of Ramrang’s renditions, he considers the raga to be formed via “introducing a shuddha Dhaivat into the Adana stream…[although] the Agra-Atrauli edition comes in a different flavour, involving a recurring phrase of RmRP” (evident in Sharafat […]
• 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 (likely via Ravi Shankar‘s extensive Southern borrowings): thus lending it a natural popularity for 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 […]
• 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. In his essay The Precious Kalyan, Imdadkhani sitarist-scholar Deepak Raja recounts his quest to decode and reconstruct its workings from old recordings, having failed to find a guru who knew it: “This was no ordinary raga…not even just […]
• Raag Jogeshwari Pancham •
S-gG-m-P-D-n-S Created by Gwalior educator and vocalist Vishwanath Rao Ringe ‘Tanarang’ by adding touches of avroh Pa to Ravi Shankar’s Jogeshwari (itself a blend of Jog and Rageshri). Jogeshwari’s basic phraseology is retained, while also allowing elaborate extensions into Jog’s territory (the inclusion of komal ga means that all Jog’s swaras are now present). 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 (as per Subodh Agrawal: “The rulers of Jaunpur were keen patrons of the arts, and the last one – Sultan Hussain Sharqi – was himself a distinguished musician; it is probable that the Jaunpuri flavor of Asavari […]
• Raag Hemshri •
S-g-m-P-nN-S A night raga created by renowned Gwalior composer and vocalist Vishwanath Rao Ringe ‘Tanarang’, essentially equivalent to ‘Tilang komal ga’. In his own summary (seemingly the only source of melodic information): “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 […]
• Raag Hansadhwani •
S-R-G-P-N-S Hansadhwani translates to ‘Call of Swans’, a creature with rich cultural associations in the Subcontinent: Saraswati, goddess of music and learning, is often depicted atop a swan, said to symbolise purity, discernment, and clarity of communication (n.b. While most scholars interpret the Sanskrit term ‘hamsa’ to mean ‘swan’, Rigvedic texts use the term loosely, […]
• 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”. Also known as ‘Gawati’, differences of opinion persist as to whether the raga is identical to Bheem: while some claim that Bheem can be distinguished by its occasional use of komal ga in […]
• Raag Gagan Vihang •
S-R-G-m-P-D-N-S As per Ocean of Ragas, Gagan Vihang (Sanskrit: ‘Birds of Heaven’) “was composed by Pandit Dinkar Kaikini…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 others also point to the influence of Shankara. The Agra khayal innovator […]
• Raag Dagori •
S-R-G-m-P-D-N-S The seldom-heard Dagori features prominent use of shuddha Ni and characteristic slides and glides between ma and Re. Seemingly invented by Jaipur-Atrauli gharana founder Alladiya Khan (also the progenitor of Maru Bihag and Jait Kalyan), and still near-exclusively performed by the khayal singers of that tradition, although detailed information is scant. While I initially […]
• Raag Bheem •
S-R-gG-m-P-D-n-S Near-identical to Gaoti, Bheem is sometimes said to be marked out by its allowance of komal ga in taar saptak – although this distinction now seems moot: there are plenty of Gaoti performances with this characteristic too. Debate persists: while Agra-Gwalior vocalist Prabhakar Karekar considers the ragas indistinguishable (having remarked that he “had been taught […]
• Raag Arun Malhar •
S-R-G-m-P-D-nN-S A rare and ancient Malhar variant, said to be 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 only in the sketchiest of terms”. Described as a mix of […]
• Raag Ambika Sarang •
S-R-mM-P-D-nN-S According to Rajan Parrikar, Ambika Sarang is associated with Agra vocalist Chidanand Nagarkar, with “elements of Shuddha Sarang and Kafi blended together in a delicious cocktail” (as per his great-nephew Prasad Upasani, “The story goes that while teaching Shuddha Sarang, one student kept singing komal ni by mistake. This phrase stuck in his head, and […]
• Raag Adana •
S-R-g-m-P-d-n-S Though prakriti with Darbari, Adana favours a ‘lighter, flittering’ treatment: often summoned via skipping ga in aroha, limiting ornaments on komal dha, and focusing more on madhya and taar saptak (exemplified in Budhaditya Mukherjee‘s concise rendition: gat transcribed below). Komal ga is reintroduced via the gmRS Kanada signature in avroh – and some artists may […]
• Raag Badhans Sarang •
S-R-m-P-D-nN-S A seldom-heard Sarang variant which appears in several different guises. All main forms include the swaras SRmPDnS, and most add shuddha Ni, while some also include shuddha Ga amidst other quirks. Thankfully, rare raga explorer Moumita Mitra recently conducted a survey of known renditions (read in full below), categorising them into three streams: ‘komal […]
• Raag Rangeshwari •
S-R-g-m-P-N-S Like Parameshwari and Gangeshwari, Rangeshwari (‘Lordess of Colours’) was created in 1968 via murchana rotation of Ravi Shankar’s Kameshwari (itself dreamed up during a car journey through Bengal). Resembles a ‘no Dha’ filtering of either Patdeep or Kirwani, although its shape seems to be unique – with Shankar’s takes tending towards wide-open, poorvang-dominant movements. […]
• Raag Kameshwari •
S-R-M-P-D-n-S Dreamed up by Ravi Shankar during a car journey in Chengali in March 1968. As explained by his widow Sukanya: “While riding in the car, he conceived the nucleus of a melodic form that he later developed and called Kameshwari [‘Lordess of Love’]. By using the old murchana and swara bheda system, he discovered […]
• Raag Devshri •
S-R-M-P-n-S An intriguing audav raga resembling ‘Megh tivra Ma’ (or ‘Vachaspati no Ga/Dha’). Its unique swara set – which features the unusual ‘tivra Ma, komal ni‘ sangati – is principally distinguished by a disbalance in how Sa and Pa are ‘surrounded’ by the swaras above and below (nSR: ‘2-2’, MPn: ‘1-3’) – offering curious contrast with the symmetry […]
• 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. Given these sharper tensions, it is often played […]
• 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 (archaic spelling: ‘Jilha’) places significant emphasis on the double-Ga, while the rest of the raga tends to fit into the thumri-allied Mishra Kafi framework. Virtually all […]
• 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 ‘Bhairav 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 [transcribed below]: notice the strong ma and […]
• Raag Sundarkauns •
S-g-m-D-n-S There are at least two ragas in modern circulation which go by the title ‘Sundarkauns’, which appear to share no connection other than their name. One version, taking the swaras SgmDnS (‘Malkauns shuddha Dha’), is described by Tanarang as having been unjustly sidelined by previous generations, who have tended to misinterpret it as a ‘Bageshri-ang Chandrakauns’ […]
• 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 Kaushiki •
S-R-g-m-P-d-n-S A mysterious Malkauns-adjacent raga of great historic renown, now seldom heard in its traditional form. Instead, it is known through its influence on Kaunsi Kanada (still called ‘Kaushiki Kanada’ by some). Ragas entitled ‘Kaushika/Kaushiki’ are mentioned in numerous ancient texts, including the 11th-century writings of Abhinavagupta (“Bhinnashadaja, Kaushiki, and Bhinnapanchama are favoured in Summer”), […]
• Raag Japaniya •
S-R-g-P-d-S The SRgPdS swara set – equivalent to ‘Shivranjani komal dha’ or ‘Bhupali Todi shuddha Re’ – exists in several distinct Hindustani guises. Patiala vocalists title it ‘Lilavati’, however this name is also applied to a separate ‘Kalavati komal ga’ form by others. The same scale also appears under the intriguing title of ‘Japaneeya / […]
• 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 Sindhura •
S-R-g-m-P-D-nN-S A Kafi ally with corresponding light-classical popularity, marked out by the explicit use of double-Ni and the frequent omission of ga in aroha. Described by Tanarang as “a light flittering melody…best suited for thumri, tappa, and hori” – while Parrikar notes that “the approach to Sa takes two pathways: one drops Ni as in […]
• Raag Simhendra Madhyamam •
S-R-g-M-P-d-N-S Borrowed from a South Indian ragam (mela #57), Simhendra Madhyamam takes the form of ‘Kirwani tivra Ma’, ‘Todi shuddha re’, or ‘Madhuvanti komal dha’. Despite the broad popularity of its Carnatic congruent (hailed by Charulatha Mani as “regal, meditative, bold, and striking”), the raga remains rare in the North – with its phraseological norms […]
• Raag Shobhawari •
S-R-m-P-d-S A rare ‘audav Asavari’ raga, matching the swaras of ‘komal Dha Durga’ (or ‘shuddha Re Gunakri‘). While relatively free of specific melodic constraints, the dha assumes natural prominence due to its disbalancing effects: it is involved in the only hemitonic pairing (Pd) and also the widest adjacent jump (dS), while serving as the only […]
• Raag Shivawanti •
S-R-g-M-P-D-S A sparsely-documented modern creation of sitar and surbahar legend Imrat Khan – kindly brought to my attention by his 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 Shivranjani and Madhuvanti. I captured this in […]
• 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 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 ‘Bhavani plus Ni’, Rajeshwari Re-for-ga’, or ‘Durga Ni-for-Pa’). Vocalist Sakuntala Narasimhan, introducing a drut khayal, cites Rasaranjani as an innovation of her Rampur gharana […]
• 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. Generally treated as hexatonic […]
• Raag Rageshri •
S-R-G-m-D-n-S Working along the lines of a ‘shuddha Ga Bageshri with shades of Khamaj’, the early-night 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 (likely as a result of shuddha Ga destroying the whole-tone […]
• 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 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 will skip Ni in ascent, traditional Dhrupad presentations will render it shuddha in aroha and komal in avroh – along with […]
• 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’ (SRgM+PDnS: i.e. ‘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] […]
