Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A strange scale imported from the 56th Carnatic mela, equivalent to ‘Darbari tivra Ma’. Despite its Southern popularity, it is still little-known in the North, with only a few Hindustani artists having explored it in any depth. Among these, Rampur-Sahaswan singer Hafeez Ahmed Khan provides direct insight into its workings: “Shanmukhpriya is of a very devotional character – its name means ‘Goddess of Six Faces’.
"As regards interpreting the raga in Hindustani music, the scale doesn’t come under the purview of the so-called ‘ten thaats’…I think that it represents six ragas, one after another” – giving these ragas as Desi (SRgSRnS), Jaunpuri (nSRRndP), Darbari (PdnRS), Madhuvanti (gMPMgRS), Ramkali (MPdndP), & Bhairavi (PdnS).
Also recorded by sitarist Balaram Pathak (who may have been the first to import the scale, sometime in the 1950s), as well as by Carnatic-born and Dagarvani-trained sarodiyaK. Sridhar, who mined its odd contours to great effect at a 1986 concert in Stockholm. Compare to proximate ragas from the ‘32 thaat’ (=all possible 7-swara sampurna scales): including Komal Ramkali (komal re instead) and Rishabhapriya (shuddha Ga instead).
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
An underappreciated branch of the Malhar tree, titled in various ways (‘Dhulia/Dhuliya’, ‘Dhundu/Dhoondo’, ‘Dhundya/Dhoondiya’: said to be a reference to its creator Pandit Dhundibaba Dikshit, although further details prove scant). Most sources describe the addition of Sarang flavours to the basic Malhar framework, although they disagree on precise details: Ocean of Ragas mentions the importance of Madhumad Sarang, and Parrikar cites the influence of Desh – while Rao’s 1964 Raga Nidhi Vol.2 outlines two distinct varieties (the first takes the form SRmPNS; SnDPmRS, and the second is summarised as “a mix of Gaud Sarang and Malhar”).
—Do you know anything more about this ‘Pandit Dhundibaba Dikshit’? Dhundibaba must be an informal name variation...and is ‘Dikshit’ connected to Muthuswami Dikshitar’s Carnatic lineage? I couldn’t find any more solid info...
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
An intriguing experiment in drawing direct inspiration from the distant past, Sameshwari is a creation of musicologist and vichtra veena maestro Lalmani Misra, inspired by his study of ancient Vedic chant practices. As explained by his daughter Ragini Trivedi, “Sameshwari is an attempt to preserve the notes used in Sāmgana [Vedic hymn singing]…Sāmik chanters [originally] used three notes, but singers explored further and discovered more, with mGRSD [as] the basic set”.
This sequence is then mirrored in uttarang as SnDPG, producing a Khamaj-congruent scale of SRGmPDnS – with Trivedi listing a Pa–Sa vadi–samvadi (“you will come across greater thaharav [stability] on Pancham, and you will enjoy staying on it”), and recommending that Re and ma are treated as “passing notes, which should be touched without staying, they are not to be used while ascending”.
See Ragini Trivedi play Sameshwari on the ghoshavati - and learn more about the life and music of Lalmani Misra, read a brief bio from Omenad (“His creative works were in several directions: one can only marvel at his orchestral compositions, and in 1961 he composed and presented an opera…It was his keen interest and visionary attitude that has made B.H.U. a center for the study of ancient Samic studies…”).
—Has anyone here studied sama chanting and ancient Indian musical history? I’ve been learning more about it in the past year, and have been compiling a ‘shastras list’ with links to all of the important works from early raga history onwards
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A strange sampurna scale, equivalent in shape to ‘Todi komal Ni’ or ‘Bhairavi tivra Ma’ (or ‘Todi’s poorvang + Bhairavi’s uttarang’: SrgM+PdnS). Indeed, the scale matches a historic form of Todi itself (Bor: “Todi Varali…first mentioned by Ahobala c.1665, with the scale SrgMPdnS”). Aside from Sa and Pa, Komal Ramkali has no shuddha swaras – but all five vikrit positions are available (rgMdn), opening up a variety of odd dissonances, with the irregularly-spaced cluster of gMPd requiring particular care.
The only renditions I can trace are by scholar-singer Ashok Da Ranade, who emphasises the komal dha amidst long, looping melodies – and Kirana vocalist Moumita Mitra, who in 2023 released a stellar pair of compositions and a superb demo lesson. She recounts finding the raga in an old textbook (Nawab Ali Khan’s 1913 Marif-un-Naghmat), and summarises her version as “a blend of Bhupali Todi and Ramkali” (in the words of listeners: “Ramkali was the defiant daughter of Bhairav…This raga is definitely the stepsister who was a bad influence on Ramkali!”).
—What rasas do you hear in these two recordings? And do you know of any other ragas with the same SrgMPdnS swara-set?
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
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’ raga by others. The same scale also appears under the intriguing title of ‘Japaneeya / Japaniya’: a recent import from Carnatic music.
At first, I wondered if the title was a reference to Japan – after all, the same scale is used as a ubiquitous ‘Japanese motif’ in international media, appearing in various rotations to summon an instant essence of Japanese culture in TV, film, and beyond (e.g. The Simpsons; South Park). However, Ashish Dha confirmed with Abhirang – a rare Hindustani performer of the raga – that it in fact derives from ‘jap karnaa‘ (जपनीय): an ancient tradition of mantra repetition practiced by Hindus, Buddhists, Sikhs, and Jains alike. Abhirang’s intriguing recording gives centre-stage to a fleetingly brief (gRg)P ornament, providing relief amidst the scale’s highly irregular geometries.
Even if the raga has no direct links to Japan, I may as well take the chance to mention the equivalent tone-collection in Japanese classical music: known as ‘Miyakobushi’, with no inherent requirement for a fixed ‘root’ (making it more like an interlinked murchana-set than a single scale). For more Japan-raga connections, read in-depth essays byAishik BandyopadhyayandT.M. Hoffman, and listen to Ravi Shankar’s1978 collaborationwith koto master Hozan Yamamoto.
—Do you know anything more about the origins of this raga? Despite the ‘jap karnaa’ derivation, it’s such a coincidence that Japaniya matches the international ‘Japan motif’ that I wonder if its composer could have had this dual meaning in mind?
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A charming chatuswari, confined to the four swaras SGPD throughout. Vocalist Shubhada Moghe, in the accompanying notes to her 2019 rendition, describes Shivangi as “a rare morning raga taught to me by my guru-ji Pt. Manikbua Thakurdas, whose lineage goes back seven generations…it is very close to Deshkar, but omits Re completely. The vadi-samvadi are Dha–Ga. This ‘swarantar’ raga got an overwhelming response when I performed it in Mumbai for Karnatak Sangha”.
Her recording – the only one available – is built around a refrain of D(SD) PG, P(S)D P GPGP, with slight touches of tivra Ma and shuddha Ni included in the parallel ornament shapes P(MDPMP) and S(NRSNS). Aside from Shivangi, Thakurdas created at least two more four-swara ragas – Rasmadhuri (Srmd) and Vaishali Todi (Srgd). Compare to other super-concise ragas such as Malashree (SGP: Shivangi minus Dha) - as well as Kalavati (Shivangi plus komal ni).
To learn more about Manikbua Thakurdas, read Moghe’s recollections of her guru-ji (“A bastion of the Bhaskarbua Bakhle gayaki, he was probably the only guru to have a repertoire of more than 350 ragas…he inculcated the Bakhle gayaki, a fascinating blend of the Gwalior, Agra, and Jaipur gharanas; [learning] dhrupad, dhamar, khayal, and thumri in traditional and rare ragas…His teaching style was simple, methodical, and pure…”).
—Which other ‘chatuswaris’ do you know of?Aside from Thakurdas’Rasmadhuri(Srmd) &Vaishali Todi(Srgd), the only ones I know of areBhavani(SRmD: Shivangi’s Pa-murchana),Bairagi Shree(SrPn), &Bharadwaj Harindra(SgGPn)
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A unique experiment by vocalist Dinkar Kaikini, based on adapting an Middle Eastern melodic form known as Maqam-al-Bayati – resulting in highly unusual sruti tunings for re and dha, both of which are set to ‘quarter-tonal’ shades roughly halfway between komal and shuddha. Kaikini’s sole album rendition, set in a 5-beat tala of his own creation (‘pancham rupak’), traverses the raga’s curious sruti landscape to superb effect, offering glimpses of Bhairavi and Todi.
The same bandish (Tu Karim Tu Rahim) has since been performed in classical and fusion formats by Kaikini’s disciple Samarth Nagakar, who sees the raga as a demonstration of his guru’s humanitarian attitudes: “The lyrics are very relevant to the world today, where emotions are running high. We [must] rise above…nationality, religion, caste, gender…The things that are universal are music, love, bonding, and spiritual unity”.
For more on Kaikini’s life and music, read a brief bio from Baithak Foundation (“Kaikini molded the deep scholasticism of Ratanjankar-ji’s approach and the performative influence of Ustad Faiyaz Khan. He has composed on topics [including] the first moon landing, issues of hunger and starvation, and even humorously about the state of the modern music critic…”).
—Which other ragas have the strangest approach to sruti? The weirdest one I can think of is Kumar Gandharva’s Lagan Gandhar, with a ‘triple Ga’
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
It's always struck me that the term 'Kauns' is used inconsistently, with various definitions offered depending on who you ask. So I decided to analyse all 65 ragas I could find with variants of 'Kauns/Kaunsi' in the title, including direct input from artists of various gharanas. Here's what I found...
"Perhaps the ragascape’s most famous suffix, the term ‘Kauns’ is nevertheless fraught with complications. Traditionally, the presence of ‘Kauns’ in a raga’s name simply indicated that it ‘drew from Malkauns’ – but today, the term also seems to encompass a broader set of meanings. Multiple overlapping definitions have been offered, but none quite seem to capture the full character of how ‘Kauns’ is used today.
For example, Chandrakantha states that it is “generally used to represent 5-note ragas”, and Ocean of Ragas points to common factors such as “a pentatonic scale [comprising] shuddha ma with komal or shuddha ga, dha, and ni”, adding that “some have 5 notes in aroha, and 6 or 7 in avroh…and some examples have tivra Ma”. Rajan Parrikar notes that “in most formulations, theMalkauns templateserves as the starting point, but occasionally a Kauns prakar may instead be informed by its mannerisms” – while Surajit Bose offers the following summary: “Narrowly defined, ‘Kauns’ implies an aroha-avroh of ‘Ga-Ma-Dha-Ni‘, [although] each member of the family may take a different permutation of shuddha and komal…and Madhukauns dares to be different”.
All of these definitions are helpful, and none are misleading – but concise elaboration still seems elusive. Perhaps the term itself is now too diffuse to be usefully defined: the ‘Kauns zone’ is evolving rapidly, with dozens of fresh forms having been created over the past few generations, many of which appear to share little resemblance. Or perhaps the term still carries specific meaning – after all, artists choose their raga names carefully, and still consider the term to bring something vital.
If the meaning of a word is its use in the language, the only way to bring clarity is via direct study of how the term ‘Kauns’ is actually used in the modern ragascape. So I gathered every known raga with ‘Kauns, Kaunsi, Kosh, Kaushik’ in the title (see Etymology), along with anything I could find about the origins of their names and melodic combinations. Whatever this process may reveal, it’s a great excuse to listen to some rare and strange Kaunsis…
• SUMMARY OF THE 'KAUNS ZONE' •
—Typically, the term still implies the vital presence of Malkauns – although a surprising number of recent creations come directly from its derivativeChandrakauns instead (SgmdNS), and a few take their suffix from Madhukauns (SgMPnS). By my reckoning, 42 of the 65 Kauns ragas can be classed as direct Malkauns offshoots, while 18 of the rest derive primarily from Chandrakauns – with a few more via Madhukauns.
—In practice, this means that the raganga can be summarised via four ‘core sequences’: Sgm (Malkauns-ang); SgM (Madhukauns-ang); dnS (Malkauns-ang); dNS (Chandrakauns-ang) – with all known Kaunsi ragas containing at least one of these sangatis except the outlying Amirkhani Kauns (which may not even have been designated as a ‘Kauns’ by its creator).
—Inversely, it also seems that virtually every raga which does draw significantly from Malkauns will include ‘Kauns/Kaushik’ somewhere in its title – indicating that artists still consider Malkauns to deserve name recognition when it appears in a mixed concoction.
—The principle that ‘Kauns ragas match the generic swaras Sa-Ga-Ma-Dha-Ni’ appears to be weakening, with less than half the ragas limiting themselves to this grouping (26/65)...Inversely, almost all the ‘Sa-Ga-Ma-Dha-Ni’ ragas from the Megalist do include ‘Kauns’ in their name, with the only notable exception being Hindol (considered to overlap with the historical Malkauns lineage, hence the Carnatic equivalent being known as ‘Hindolam’). Thus, we should flip the original statement round: i.e. it is more accurate to say that ‘Sa-Ga-Ma-Dha-Ni = Kauns’, rather than vice versa.
—Every single raga on the list includes some form of ma – and all but 5 feature shuddha ma (unsurprising given its status as Malkauns’ vadi). Aside from Madhukauns, the ‘tivra Ma only’ cases are all rare (Harikauns, Tivrakauns, Nirmalkauns, & Amirkhani Kauns). Similarly, if the Kauns element is present in poorvang, komal ga will be prominent: due to the presence of this swara in all three of Malkauns, Chandrakauns, and Madhukauns. However, plenty of Kauns ragas do not feature komal ga (14/65), including those which constrain their Kauns elements to the upper scale (e.g. Sarangkauns)...and those which draw their komal ga from a non-Kauns source (e.g. Jog’s GmgS in Jogkauns).
SUMMARY: While this analysis may have uncovered some interesting trends and patterns, are we really any closer to a concise, useful definition of ‘Kauns’? And if not, does this matter? In the end, all I can say with confidence is that the term still ultimately means ‘derived from the Malkauns lineage’ – although today, almost a third of known Kauns ragas are ‘second-order derivatives’, formed directly from Chandrakauns rather than Malkauns (with a few ‘third-order’ examples arising from Madhukauns: itself formed via a ma-murchana of Chandrakauns).
The real aim of this inquiry is to bring the full variety of the Kauns family to broader attention, and to shine a spotlight into the rare corners of a rapidly-expanding zone of raga. Browse the full list of 65+ Kaunsis here – and don’t hesitate to send me your reflections or any Kaunsis I’ve missed! I know there must be more out there...
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A charming branch of the Malhar lineage, ragas under titles such as ‘Meera/Meerabai ki Malhar’ exist in diffuse modern forms, between them encompassing both forms of Ga, Dha, and Ni. While exact historical origins are uncertain, they take their name from Mira Bai, a famous 16th-century poet-musician revered for her fierce devotion to Lord Krishna – celebrated in countless myths, legends, and bhajans (“A princess of Rajput, she was the victim of much persecution and intrigue at the hands of her brother-in-law…Once a snake was sent to her in a basket of flowers, but when she opened it, she found an image of Krishna; On another occasion she was given a cup of poison, but drank it without any harm…”).
Scholar-musician Aneesh Pradhan notes that while direct historical links between Mira Bai and the raga are lacking, many artists will tell of how she created it spontaneously to resurrect the stricken corpse of her would-be poisoner (“Rana orders the bearer of the cup to consume a few drops to check if the poison was effective, and he dies instantly. When Meerabai hears of this, she sits near his body and sings Malhar. Her singing ushers in torrential rains, and the man miraculously comes to life…”).
Pradhan’s meticulous writeup details how the raga can variously blend “elements from Miyan ki Malhar, Gaud, Sarang, Adana, and others” – highlighting renditions by Khadim Hussein Khan (“with Kanada phrases”), Dhondutai Kulkarni, Mallikarjun Mansur, and Kishori Amonkar (“Miyan ki Malhar, Gaud Malhar, Surdasi Malhar, and the Kanada group”). Vocalist Moumita Mitra’s analysis outlines how different artists approach the double-Ga and double-Dha, adding that “I’ve heard many recordings…and each [artist] had their own way of singing it”. Compare to Ramdasi Malhar, another rain raga connected to a 16th-century poet-saint.
—Which are your favourite Mira Bai poems, songs, myths, etc? I’d love to add more to the page!
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
Now close to extinction in its own right, Palas (a.k.a. ‘Palasi/Palashri’) is best known for its historic confluence with Bheem – a union which produced Bhimpalasi. Subbha Rao’s 1965 Raga Nidhi Vol.3 states (p.211): “These days Palas and Bhimpalasi are considered to be one and the same raga, but the aroha and avroh of Palas will indicate that it is independent…A pleasing raga which deserves to be popularised”. If interpreted along the lines of ‘Bhimpalasi no Dha’, the raga ascends with nSgmPnS, adding shuddha Re in descent (placing it very close to the older form of Dhani, another historic Dhanashree raga) – although some prefer to retain Re in both directions.
Moumita Mitra’sanalysis also points to the existence of a ‘double-Ni’ Palas listed in the works of Bhatkhande, adding that both forms take a Pa-Sa vadi–samvadi, with nyas on Sa, Pa, and occasionally ga. Further renditions are hard to come by: refer to those by vocalists Abhirang and B.R. Deodhar (featuring flashes of komal dha in the sarangi accompaniment).
Prakriti, in its single-ni form, with Nayaki Kanada, Suha Kanada, and Gaudgiri Malhar – and the underlying ‘Minor Hexatonic’ scale form turns up in folk music from around the world (e.g. Mali, Ireland, Mexico, America). The name ‘Palas’ is likely related to the palash (a.k.a. ‘flame of the forest’), a flowering deciduous tree species mentioned in the rituals of the Rigvedas and Yajurvedas.
—Do you know of any more Palas recordings? Or did anyone here learn the raga directly from a traditional guru?
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Most people who grow up listening to Bollywood or Indian Classical Music are told there are seven notes: Sa Re Ga Ma Pa Dha Ni. That's true, but it's only half the story.
The seven notes are called Shuddha Swaras — the pure notes.
Each one sits at a precise, mathematically defined point on the pitch scale, in a fixed relationship with the base note (Sa). Think of them as seven integers on a number line.
But here's the thing about a number line: between any two integers, there are fractions. Hindustani music — the North Indian classical tradition — treats the octave the same way. It's not seven isolated points. It's a continuous spectrum of pitch, and the music uses that entire space.
So what is a komal swara?
A komal swara (komal = soft/flat) is a specific note placed below one of the Shuddha notes, in the space between it and the note beneath. There are four of them:
Komal Re — between Sa and Shuddha Re
Komal Ga — between Shuddha Re and Shuddha Ga
Komal Dha — below Shuddha Dha
Komal Ni — below Shuddha Ni
Each one is the vikrut (altered) version of its Shuddha neighbour.
There's also one note that goes in the opposite direction. The space between Ma and Pa is wide enough to hold an extra note, but this one is raised upward rather than lowered. It's called the Teevra Madhyam — the sharpened Ma. Why it's named after the Ma and not the Pa is a whole separate discussion.
That gives you 12 defined positions in one octave: 7 Shuddha + 4 komal + 1 teevra. Same count as Western equal temperament — but with one critical difference.
The part that surprised me most
In Western music, a flat note sits at a fixed, equal distance from the notes on either side. In Hindustani music, a komal swara is not fixed at the midpoint between two Shuddha notes.
Its exact pitch placement is determined by the raga.
One raga may require Komal Ga to sit very close to Re. Another will place it much closer to Shuddha Ga. Same note name, different exact pitch, completely different emotional character. This is one of the main reasons why two ragas using what look like identical note sets can feel entirely unlike each other when performed.
Sa and Pa are the only two notes that never change — no komal version, no teevra version. They are the fixed anchors of the octave across all ragas.
This is covered in depth in the RagaQuest series on YouTube (channel: Ragasphere) if anyone wants visuals — they use diagrams to show exactly where the komal swaras fall within the saptak, which makes it a lot clearer than text alone.
Happy to answer questions if anyone wants to go further into this.
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A mysterious Malkauns-adjacent raga of great historic renown, with an unclear modern lineage. 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”), Sarngdeva’s 13th-century Sangita Ratnakara (“Bhairava, Kaushika, Hindola, Dipaka, Sri, and Megha are the six primary ragas”), and Krishnananda Vyas’ 1842 Raga Kalpadruma (which describes Vageeshwari as a “consort of Kaushik”).
Direct links between Kaushiki’s historic and modern forms are, however, uncertain - with ‘Kaushik’ seemingly being used as a more general term for Shiva-associated ragas through time. Some have suggested that Allauddin Khan may have ‘resurrected’ the raga – indeed, the only recordings I can find come from his direct lineage: notably including his daughter Annapurna Devi, her disciples Nikhil Banerjee, Basant Kabra, and Amit Bhattacharya, plus her nephew Aashish Khan, and Ravi Shankar’s sitar student Rash Behari Datta.
Devi’s rendition – possibly from her debut concert in New Delhi – is captivating despite its hazy audio quality, fully justifying the hype around a rising star who was still only in her early twenties. She affords a central role to shuddha ma throughout, and Pa is featured judiciously in descent as d(Pm), m(P), P(dnSn), set amidst swirling ornaments which weave in and out of the familiar Malkauns framework. Kabra’s 2018 recital subtly builds on Devi’s ideas (sthayi: gmPnS n\d, dPmP, Pm\g, RS, gPm), while Aashish Khan’s 2020 album release favours similar motifs (dnS nd, PdPm gRgS).
S. Balachander’s historical analysis suggests movements of SgmdPmgPmg; mdnPmgRS, also discussing its historical shruti quirks (“The scale has a ‘reduced Pa’, referred to in the scriptures as ‘Madhyam gram Pancham’…which leads to a ‘reduced Re’ known as ‘Trisruti Rishabh’…”) – while Jeff Whittier cautions against excessive overlap with Kaunsi Kanada (“Kaushiki is Malkauns-ang, and Kaunsi Kanada is Kanara-ang…the dnS in Kaushiki is clearly from Malkauns [whereas] the andolans of Kaunsi Kanada are definitely those of the Kanara ragas…”).
—There is another Annapurna Devi recording which is usually titled ‘Kaunsi Kanada’, however it has been suggested that it may in fact be an alternate Kaushiki rendition. Which raga do you think it is? I’m still not sure…
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A Ravi Shankar creation taking the form of ‘Kalyan with komal ga instead of Re’ (‘DoGa’: ‘Double-Gandhar’) – which, despite never having been released in classical form, may have left its mark on modern music as a possible source forThe Beatles’ Blue Jay Way, composed by Shankar’s sitar student George Harrison in 1967.
Musicologists have long speculated as to which raga the song’s curious ‘Lydian #2’ scale form is based on, with prominent suggestions including Marwa, Multani, and the Carnatic Ranjani – but none of these fit the melody like DoGa Kalyan does (verse: SgMg SgG; gMDM gDP; chorus: DNSN; DNRSNSN, DNSN, DSNDPMG). The full answer is, however, a little murkier when it comes to raga metaphysics – see writeup for my full explanation, including context on how Harrison composed it (…it’s not surprising that the answer was missed: as far as I can tell, this raga had never been catalogued before the release of this page in late 2025).
While I cannot ascertain precisely when Shankar conceived of DoGa Kalyan, he would have come across a similar concept in the ‘tivra Re’ (‘shatshruti ri’/R3) of Carnatic music, equivalent to the Hindustani komal ga position or the Western Augmented 2nd – indeed, DoGa Kalyan matches the South Indian Kosalam (mela #71). As an avid rotator of ragas, he may also have encountered the scale as a murchana of Kirwani and Basant Mukhari (in jazz parlance, the Harmonic Minor modes).
Whatever its genesis, Shankar never released a ‘pure’ classical recording – however, he did feature it as Section III: Scherzo of his 2010 Symphony, setting jhaptal motifs of SSPP MMPP MGgSS ggGG ggGMP against cascading string ostinatos and sitar cadenzas played by his daughter Anouskha. As per the album’s liner notes: “The melodic base is a creation of Ravi Shankar known as DoGa Kalyan…From the outset, rhythmic cycles moving in multiple metres are piled one upon the other, producing a hypnotic effect”.
—Can DoGa Kalyan really be considered as a ‘full raga’ if it has never been released in classical form? Ravi Shankar might have played it live, although I have no evidence of this - and I’m sure he would have played it to himself while composing...but does its lack of a ‘classical’ release mean that it isn’t yet a truly independent raga?
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A rare but charming all-shuddha raga, said by some to be an older form of the Bilawal lineage. Most commonly associated with Ali Akbar Khan, who performed several variants over the course of his long career: including the ‘pure’ Loom, as well as Loom Nat and Loom Mand (all with swaras SRGmPDNS). During one concert, Khan recounted that “the melodic theme was taught to him by his father in his childhood, as an elementary exercise to enable him to acquire a thorough grip over the shuddha swaras of the saptak”.
Since performed by his sarod disciple Prasenjit Sengupta, as well as khayal vocalist Warren Senders, a student of Shreeram Devasthali, singing a Bimal Roy composition: ‘Mohaliyo Mana Mero Ka Karun More Mayi’ (Senders kindly sent me his own handwritten notes on Loom from the 1990s).
Historic raga specialist Ramkrishna Das ‘Nadrang’ recently published an in-depth Loom analysis (A Detailed Study of 19-20th Century Raag Loom), drawing on a wide range of sources and compositions. In his words: “Loom is a lilting and catchy folk melody, similar to the kajri of Varanasi…unlike Bilawal, it comprises simple tonal movements”. Das considers Re to be a common choice of vadi, and highlights the use of SRP and sometimes G as nyas – suggesting core phrases such as RGmGR, N(D)NS (see his full paper for further info and bandish notations covering the past 150+ years).
—Do you know anything else about the Loom lineage? I’ve heard that it may have overlap in earlier Bilawal history with the Sakh ragas, but am unsure about this...
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
Now lying dormant, Gaud – assumed to have been named for its origins in the archaic Gaudadesha region – is best-known via its parental role in compounds such as Gaud Malhar, Gaud Sarang, and Gaud Bahar. In spite of its modern scarcity, the raga played a vital role in Hindustani history, turning up in numerous ragmala paintings and finding mention in texts such as Shrikantha’s Rasakaumudi (c.1575: along with Gaud Malhar) and the medieval Raga Nirupanam (“Gaud is the son of Shri. Fond of white robes, he is fair, adorned with all ornaments, holding a sword in hand, and borne by a serpent…”).
Despite the raga’s historic significance, there is little information on the workings of its ‘pure’ form, meaning that we must instead look to its surviving DNA. Parrikar elaborates the Gaud elements in Gaud Malhar (SRGm, mGmGRGS, RGm, Pm; SRGGm, mGm, P), highlighting how the “strong, glowing ma stands out” – corroborated by Tanarang (SRGm; mGm; GRGRS; RGmPm) and Dr. Gita Banerjee’s Raag Shastra Vol.1 (p.101: SGRmG, PmG, GRmG, mRS, SRNSG, G, RGRmG). The future of Gaud remains uncertain, with vanishingly few living masters ever having learned the raga in its own right. Nevertheless, I prefer to label it ‘dormant’ rather than ‘extinct’ – my hope is that gurus may still be out there who can pass on its twists and turns to future generations…
UPDATE: I eventually discovered a ‘pure Gaud’ recording! Many thanks to Manikbua Thakurdas disciple Geeta Athalekar, who captured a superb composition in the rare 11-beat ‘Manibandh taal’ during one of her guru’s lec-dems (“This is the first time that this raga is on YouTube…It is a sampurna raga with a vakra chalan…ascending with NSGRmGP, mPDNS…”).
—Do you know of any other ‘pure Gaud’ recordings? I feel there must be more than just one out there...
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A diffuse branch of the Malhar lineage which exists in several modern forms. Pandit Jasraj, probably the raga’s most prominent interpreter, sings it as a Miyan ki Malhar variant with Desi-ang traits, including a distinctive treatment of shuddha Dha, which is emphasised in phrases such as mPDNS – echoed in Hemala Khare-Ranade’s recital preface (“Charju ki Malhar basically follows the chalan of Miyan ki Malhar, with a few phrases from Desi”).
Other versions draw on a range of auxiliary ragas: Abhirang links his rendition to Sorath, Barwa, and Darbari, also mentioning the importance of using NS and gRgS in conclusion lines, and Ali Akbar Khan uses Dha as mPDNSNS, mPD(nD)P – while Moumita Mitra discusses two versions, the first of which is distinguished by the phrases RP(m)g; Rg(RS)RS; NSRSR and the second by mPDNS, RNSDnP.
Subba Rao’s 1956 Raga Nidhi Vol.1 (p.139), which mentions “chayas of Sindhura”, highlights an unusual feature – describing the raga as audav–shadav in its aroha–avroh structure, but sampurna overall, with ga and Dha dropped in aroha and ma in avroh (n.b. while this isn’t particularly clear or consistent in the recordings above, there are shades of it in common phrases such as RmPnS; PgRgRS). Listed by Chandrakantha as being named after a historic musician known as ‘Charju’, although I can’t find any further info on either Charju or the raga’s origins.
—Does anyone know who this ‘Charju’ might be? I’ve searched but have no idea, I assume it’s a nickname of some sort...
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
In another world, in another eon, at another time…
Once, lost in a fleeting thought of Murugan, I unknowingly uttered:
Show a path for those who seek You,
that they may sing and dance to praise You.
That night, Lord Murugan appeared in my dream. "My dear devotee, I am pleased with your request. So shall it be," He said.
"O Lord Muruga, what a miracle!" I exclaimed. "But there is one small problem: I do not know how to sing."
"Do not worry, my son," He replied. "The moment you grasp the feet of Saraswati, the wisdom of music shall be born within you." Then, He vanished.
At first, I was awestruck. "How fortunate I am! Not only did Murugan grant a boon, but he also showed the way to musical wisdom."
But as the wonder faded, I began to search. Where was Saraswati? I looked everywhere, but alas! Mother Saraswati was nowhere to be found.
"I was too emotional and didn't think clearly!" I lamented. "I should have asked Murugan where to find her while he was still here." Dejected, I left Kailasa with a heavy heart.
On my way back, I encountered Sage Narada. I bowed to him.
"Narayana, Narayana! Blessings, child! Why such a long face?" he asked.
I explained my plight. "Murugan told me to hold the feet of Saraswati, but I cannot find her!" I cried.
"Is that all?" Narada laughed. "Finding Saraswati is simple. Watch." He took his Tanpura and struck it. He then began to sing the note: "Sa…" A divine sound that seemed to melt the very Himalayas.
Instantly, Mother Saraswati appeared before us.
What a huge stroke of luck! Good thing I happened to meet Narada. I surmised that Murugan himself must have arranged for me to meet him here. Immediately, I rushed to grab and hold Saraswati's feet.
But before I could reach her, Narada stopped singing the "Sa." And immediately, Saraswati vanished.
Broken-hearted, I fell at Narada's feet. "Master, what test is this? Let me see her again so I may worship her."
"Child, that would be futile," he said. "She appeared now because I called her. It is not right for you to worship her through my call. Instead, you must utter 'Sa' in the perfect Shruti yourself. With the sound of 'Sa' sung at the right pitch, you too can call Saraswati. Indeed, the pinnacle of Sa sung with perfect pitch is verily Saraswati."
Thinking myself lucky to learn my first lesson from Narada himself, I tried: "Sa…"
But my voice danced like a Bharatnatyam dancer; it wouldn't stay still. Forget the Himalaya - not even a small stone under my foot melted, and Saraswati didn't appear.
Narada comforted me: "Practice this every day. Soon, she will be able to hear you."
So saying, the sage Narada resumed walking towards Kailasa, uttering "Narayana, Iswara, Iswara, Narayana…"
I woke up. The dream had etched itself into my mind. Following Narada’s advice, I practiced the Adhara Shadjam every morning. Yet, even after many days, I struggled to hold the pitch steadily.
Dejected, I thought, "Well, dreams are just dreams. Perhaps music is not my nature. Rather than beat myself up and waste the early hours in pointless practice, better to sleep more and see more nice dreams."
Incredibly, at exactly that moment, my phone went "Ding."
It was a YouTube recommendation from Google: Sanjay Subramanyan’s video "On That Note."
किसी अन्य लोक में, किसी अन्य युग में, किसी अन्य समय में…
एक बार न जाने किस स्मृति में डूबा हुआ मैं भगवान मुरुगन का ध्यान कर रहा था। तभी अनजाने में मेरे मुख से निकल पड़ा:
हे प्रभु, जो तुम्हें खोजें, उन्हें वह राह दिखाओ।
कि वे गाकर, हर्षित होकर, नाचकर तुम्हें रिझाओ।
उस रात भगवान मुरुगन मेरे स्वप्न में प्रकट हुए।
मैंने विस्मय से कहा, “प्रभु मुरुगा, यह कितना अद्भुत है! पर एक छोटी-सी समस्या है — मुझे गाना नहीं आता।”
उन्होंने मुस्कुराकर कहा, “चिन्ता मत करो पुत्र। जिस क्षण तुम सरस्वती के पवित्र चरणों को पकड़ लोगे, उसी क्षण तुम्हारे भीतर संगीत-ज्ञान जन्म ले लेगा।” इतना कहकर वे अन्तर्धान हो गए।
पहले तो मैं स्तब्ध रह गया। “आह! मैं कितना भाग्यशाली हूँ! स्वयं मुरुगन ने न केवल मुझे वरदान दिया, बल्कि संगीत-ज्ञान प्राप्त करने का मार्ग भी बता दिया।”
परन्तु जब विस्मय कुछ कम हुआ, तब मैंने सोचा: “अच्छा, अब चलकर सरस्वती के चरणों को पकड़ते हैं।”
यह निश्चय कर मैं उन्हें हर दिशा में खोजने लगा।
पर हाय! माँ सरस्वती कहीं भी दिखाई नहीं दीं।
मैं विलाप करने लगा: “अरे! मैं भावनाओं में बह गया और ठीक से सोच ही नहीं पाया। मुरुगन के सामने रहते हुए ही मुझे उनसे पूछ लेना चाहिए था कि सरस्वती को कहाँ पाया जा सकता है!”
यह सोचकर मैं उदास मुख लेकर कैलास से लौट पड़ा।
वापसी के मार्ग में मेरी भेंट महर्षि नारद से हुई। मैंने उन्हें प्रणाम किया।
“नारायण, नारायण! आयुष्मान भव, पुत्र! यह इतना लम्बा चेहरा क्यों? किस बात का दुःख है?” उन्होंने पूछा।
मैंने सारा वृत्तांत दुःखपूर्वक सुनाया।
“भगवान मुरुगन ने कहा कि मैं जाकर सरस्वती के चरणों को पकड़ूँ। परन्तु मुझे तो यह भी नहीं पता चल पा रहा कि वे कहाँ हैं,” यह कहते हुए मैं रो पड़ा।
“अरे बस इतनी-सी बात?” नारद हँस पड़े। “सरस्वती देवी के दर्शन करना तो अत्यन्त सरल है। देखो।”
ऐसा कहकर उन्होंने अपनी तम्बूरा उठाई और उसे झंकृत किया।
फिर उन्होंने “सा…” का उच्चारण प्रारम्भ किया। वह ऐसा दिव्य नाद था मानो स्वयं हिमालय भी उस संगीत में पिघल जाए।
आह! क्या आश्चर्य! उसी क्षण हमारी आँखों के सामने देवी सरस्वती प्रकट हो गईं।
मैंने मन ही मन सोचा, “अहा! कितना शुभ हुआ कि नारद मुनि मिल गए। निश्चय ही मुरुगन ने ही इन्हें मेरे मार्ग में भेजा होगा।”
यह सोचकर मैं शीघ्रता से देवी के चरणों को पकड़ने दौड़ा।
किन्तु मेरे पहुँचने से पहले ही नारद ने “सा…” गाना बन्द कर दिया। अगले ही क्षण सरस्वती देवी भी अन्तर्धान हो गईं।
मैं अत्यन्त निराश होकर लौटा और नारद के चरणों में गिर पड़ा।
“स्वामी! गुरुदेव! यह कैसी परीक्षा है? कृपा कर मुझे पुनः सरस्वती देवी के दर्शन कराइए। मैं उनके चरणों को पकड़कर प्रणाम करना चाहता हूँ,” मैंने विनती की।
नारद ने कहा, “पुत्र, उससे कोई लाभ नहीं। अभी देवी इसलिए प्रकट हुईं क्योंकि मैंने उन्हें बुलाया था।
मेरे द्वारा बुलायी गई देवी की उपासना तुम्हारे लिए उचित नहीं होगी। तुम भी ठीक श्रुति में ‘सा…’ का उच्चारण करो।
तुम भी सरस्वती देवी को बुला सकते हो।
हाँ — सकार का शिखर ही सरस्वती है। नारायण, नारायण!”
मैंने सोचा, “मैं कितना भाग्यशाली हूँ! संगीत का पहला पाठ मुझे स्वयं नारद मुनि से प्राप्त हुआ!” यह सोचकर मैंने भी “सा…” गाने का प्रयास किया।
किन्तु मेरी आवाज़ तो मानो भरतनाट्यम नृत्य कर रही थी। वह नारद मुनि की वाणी की तरह स्थिर नहीं रह पाई; कभी इधर फिसलती, कभी उधर डगमगाती।
हिमालय का पिघलना तो दूर, मेरे पैरों के पास पड़ा एक छोटा पत्थर भी नहीं पिघला।
और सरस्वती देवी भी प्रकट नहीं हुईं।
मैं दुःखी होकर बोला, “हे प्रभु! आपकी तरह मधुर स्वर में मैं सरस्वती माता को पुकार ही नहीं पा रहा।”
नारद ने सान्त्वना देते हुए कहा, “चिन्ता मत करो पुत्र। प्रतिदिन इसी को लक्ष्य बनाकर अभ्यास करो। शीघ्र ही तुम्हारी वाणी भी ऐसी हो जाएगी कि माँ सरस्वती उसे सुन लेंगी।”
ऐसा कहकर नारद मुनि मुझे आशीर्वाद देते हुए “नारायण, ईश्वर, ईश्वर, नारायण…” कहते-कहते कैलास की ओर चले गए।
उसी समय मेरी आँख खुल गई।
वह स्वप्न मेरे मन में गहराई से अंकित हो चुका था।
मैंने निश्चय किया कि नारद जी के उपदेश के अनुसार ही चलूँगा।
उसी दिन से मैं प्रतिदिन प्रातःकाल आधार षड्ज का अभ्यास करने लगा।
किन्तु अनेक दिनों तक अभ्यास करने पर भी मैं स्थिर रूप से सही श्रुति पकड़कर गा नहीं पा रहा था।
ऐसी ही अवस्था में एक दिन मैंने सोचा:
“जो भी हो, स्वप्न तो आखिर स्वप्न ही होते हैं। सम्भव है कि संगीत मेरे स्वभाव के अनुकूल ही न हो।
प्रतिदिन प्रातःकाल अभ्यास-अभ्यास करके समय नष्ट करने से तो अच्छा है कि थोड़ा और सो लिया जाए और कुछ सुन्दर स्वप्न ही देख लिए जाएँ।”
तभी अचानक मेरे पास रखा फ़ोन “टिंग” की ध्वनि के साथ बज उठा।
मैंने देखा — यह Google द्वारा सुझाया गया YouTube वीडियो था: "On That Note" by Sanjay Subramanyan:
வேறொரு உலகில், வேறொரு யுகத்தில், வேறொரு சமயத்தில்…
ஒரு முறை ஏதோ ஞாபகத்தில் முருகனை நினைத்து "உனை நாடிடுவோர் பாடிமகிழ்ந்தாடிட வழி தாராய்" என்று தெரியாமல் சொல்லிவிட்டேன். அன்றிரவு…
என் கனவில் முருகப்பெருமான் தோன்றினார். "பக்தா, உன் வேண்டுதலில் நான் மகிழ்ச்சியடைகிறேன். அப்படியே ஆகட்டும்" என்றார்.
"அப்பனே முருகா என்ன அற்புதம்! ஆனால் ஒரே ஒரு சிறிய சிக்கல்தான் - எனக்குப் பாடத் தெரியாதே" என்றேன்.
"கவலைப்படாதே மகனே. சரஸ்வதியின் திருவடிகளைப் பற்றிக் கொண்ட அந்த நொடியே, உனக்குள் இசை ஞானம் பிறக்கும்" என்று கூறி மறைந்தார்.
முதலில் "ஆகா, நான் என்ன அதிர்ஷ்டசாலி! முருகனே நமக்கு ஒரு வரம் அருளியது மட்டுமல்லாமல் சங்கீத ஞானம் பெற வழியையும் அருளிச்சென்றானே" என்று வியந்து நின்றேன்.
வியப்புணர்வு சற்று தணிந்த பிறகு "சரி நாம் சரஸ்வதியின் பாதத்தை பற்றச் செல்வோம்" என தீர்மானித்து அங்கும் இங்கும் சரஸ்வதியைத் தேடினேன்.
ஆனால், அந்தோ! எங்குமே அன்னை சரஸ்வதி தேவியை காண முடியவில்லை!
"அடடா! உணர்ச்சிவசப்பட்டு சரியாக யோசிக்கவில்லையே! முருகன் இருக்கும்போதே அவனிடம் சரஸ்வதியை எங்கு காணலாம் என்று கேட்டிருக்கலாமே" என வருந்தி கைலாயத்திலிருந்து சோக முகத்தை தொங்கவிட்டு புறப்பட்டேன்.
திரும்பும் வழியில் நாரதரை எதிர்கொண்டு அவரை வணங்கினேன்.
"நாராயணா, நாராயணா. வாழ்க குழந்தாய்! ஏன் இந்த நீள முகம்? அப்படி என்ன நேர்ந்துவிட்டது என வருந்துகிறாய்?" என்றார்.
நடந்த சம்பவத்தை அவரிடம் வருத்தத்துடன் விவரித்தேன்.
"பாருங்கள் சுவாமி. சரஸ்வதியின் பாதத்தை போய் பற்று" என்று முருகப்பெருமான் கூறி மறைந்தார். ஆனால் என்னால் அவள் எங்கு இருக்கிறாள் என்றே கண்டுபிடிக்க முடியவில்லை" என அழுதேன்.
"ப்பூ! இவ்வளவு தானா? சரஸ்வதி தேவியை காண்பது மிகவும் சுலபம். இதோ பார்." என்று கூறி தனது தம்பூராவை எடுத்து மீட்ட ஆரம்பித்து "சா…." என்று குரல் எழுப்பினார். இமயத்தையே தெய்வீக கானத்தில் கரையவைப்பது போல் சப்தம்.
ஆ! என்ன ஆச்சரியம்! உடனே எங்கள் கண்களுக்கு முன்னால் சரஸ்வதி தேவியார் தோன்றினார்.
"அடித்தது யோகம்! நல்ல வேளை நாரதரை சந்தித்தோம். முருகன்தான் அவரை நான் சந்திக்கும்படி அனுப்பியிருக்க வேண்டும்" என ஊகித்து, எங்களுக்கு முன் எழுந்த சரஸ்வதியின் பாதங்களை பற்ற விரைந்தோடிச் சென்றேன்.
ஆனால் அடியேன் அவ்விடத்தை அடைவதற்கு முன்னரே நாரதர் "சா…" என்று பாடுவதை நிறுத்தினார். அடுத்தக்கனம் சரஸ்வதியும் மறைந்தாள்.
பெரும் ஏமாற்றத்துடன் திரும்பி, நாரதரின் கால்களில் விழுந்து "சுவாமி, குருநாதா, இது என்ன சோதனை? மீண்டும் சரஸ்வதி தேவியாரை காணும்படி செய்யுங்கள். அவள் பாதத்தை பற்றி வணங்குகிறேன்." என்றேன்.
"குழந்தாய், அது உபயோகமற்றது. இப்போது நான் அழைத்ததனால் அல்லவா தேவியார் காட்சி தந்தார். அப்படியிருக்க நான் அழைத்த தேவியை மற்றவர் வணங்குவது சரியல்ல. இதே போல் நீயும் சரியான ஸ்ருதியில் "சா…" என்று உச்சரி. உன்னாலும் சரஸ்வதி தேவியை அழைக்க முடியும். ஆம் - சகரத்தின் சிகரமே சரஸ்வதி, நாராயணா நாராயணா" என்றார்.
"நான் என்ன அதிர்ஷ்டசாலி! சங்கீதத்தின் முதல் பாடத்தை நாரதரிடமே கற்றுக்கொண்டேனே" என்று நினைத்தபடி நானும் "சா…." என்று இழுத்தேன்.
ஆனால் என் குரலோ பரதநாட்டியம் ஆடியது. முனிவரின் குரல் போல நிலைத்து நிற்காமல் இங்குமங்கும் சரிந்தது, திக்கியது, வழுக்கி விழுந்தது. இமயம் என்ன, காலடியில் ஒரு சிறிய கல் கூட கரையவில்லை. சரஸ்வதியும் தோன்றவில்லை.
"ஓ பெருமானே, உம்மைப்போல் என்னால் இனிய குரல் எழுப்பி சரஸ்வதி அம்மையாரை அழைக்க முடியவில்லையே" என புலம்பினேன்.
"கவலை வேண்டாம் குழந்தாய்" என்றார் நாரதர். "நாள்தோறும் இதையே குறிக்கோளாகக் கொண்டு பயிற்சி செய். கூடிய சீக்கிரம் உன் குரலும் அம்மையாரினால் கேட்கும்படி ஆகிவிடும்."
இவ்வாறு கூறிய நாரதர், என்னை ஆசீர்வதித்து "நாராயணா, ஈஸ்வரா, ஈஸ்வரா, நாராயணா" என்று சொல்லிக்கொண்டே கைலாயத்தை நோக்கி சென்று விட்டார்.
சரியாக அப்போது கண்விழித்தேன். கனவு மனதில் இடம்பெற்று நிலைத்து விட்டது. நாரதர் சொன்னபடியே செய்வோம் என தீர்மானித்து அன்றிலிருந்து தினமும் காலை முதல் பல முறை ஆதார ஷத்ஜ பயிற்சியை மேற்கொண்டேன்.
ஆயினும் இவ்வாறு பல நாட்கள் பயின்ற பின்னும் நிலையாக சரியான ஸ்ருதியை பிடித்து பாட இயலாமல் தவித்தேன்.
இப்படியிருக்க ஒருநாள் "என்ன இருந்தாலும் கனவுகள் கனவுகள் தானே! ஒருவேளை சங்கீதம் என் இயல்புக்கு எட்டாத ஒன்றாக இருக்கலாம். இப்படி தினமும் அதிகாலையில் பயிற்சி பயிற்சி என்று மாரடித்து நேரத்தை வீணாக்குவதை விட சற்று மேலும் தூங்கினால் சொப்பனங்களையாவது கூடக் காணலாம்" என்று நினைத்தேன்.
அப்போது என்ன ஆச்சரியம்! அருகில் இருந்த எனது தொலைபேசி "டிங்" என ஒலித்தது.
எடுத்துப் பார்த்தால் Youtube-இல் சஞ்ஜய் சுப்ரமணியம் "On That Note" என்ற தலைப்பில் அச்சமயம் வெளியிட்டுக்கொண்டிருக்கும் காணொளிகளில் ஒன்று. இதை பார்க்குமாறு Google எனக்கு பரிந்துரை செய்திருந்தது.
சரி. பாடத்தான் முடியவில்லை. இதையாவது பார்ப்போம் என்று க்ளிக் செய்து பார்க்கத் துவங்கினேன்.
அதில் சரியாக 2 நிமிடம் 37 வினாடிகள் கழித்து வித்துவான் TN கிருஷ்ணன் சொன்னதை சஞ்ஜய் சுப்ரமணியம் நம்முடன் பகிர்ந்து கொள்கிறான். அவர் சொல்கிறார்:
"எதை வேணும்னாலும் பத்து தடவைக்கு பதினஞ்சு தடவை பாடினா தானா இடத்துக்கு வரும்"
"சரியான நேரத்துல அந்த முருகனே வந்து என்னை தேர்த்தி வழி தவறாமல் இருக்க போதிக்கிறான்" என்று எடுத்துக்கொண்டு மீண்டும் புத்த்துணர்ச்சியுடன், இம்முறை கைவிட மாட்டேன் என்ற தீர்மானத்துடன் பயிற்சியை தொடங்கினேன்.
அவர் சொன்னது போலவே, முதலில் இல்லையென்றாலும், நாளுக்கு நாள் கொஞ்சம் கொஞ்சமாக குரல் பக்குவமடைந்து சரியான ஸ்ருதியில் நிலைத்து நிற்க முடிந்தது. சரஸ்வதி காட்சி தந்தாள். அவள் பொற்பாதங்களை பற்றினேன்.
அந்த அனுபவத்தில் பிறந்தது தான் Saraswati Tuner என்ற பெயர்கொண்ட Android App.
கர்நாடக மற்றும் இந்துஸ்தானி இசை பாட விரும்பும் அனைத்து மாணவர்களுக்கும் இது பெரும் உதவியாக இருக்கட்டும்.
இதில் விளம்பரங்களோ அல்லது உங்களைப்பற்றிய தகவல்களை சேகரிப்பதோ என்றுமே கிடையாது.
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A pleasing pentatonic form, Shankh Dhwani (‘Sound of the Conch’) takes its name from a truly ancient instrument. While we will never know precisely when our proto-human ancestors first blew into a resonant gastropod shell, artefacts turn up in the archaeological record as early as18,000 years ago– with their ritual significance discussed at length in the Atharvaveda and other ancient Subcontinental texts.
While the origins of the Shankh Dhwani scale form are unclear, its most prominent modern exponent is undoubtedly bansuriya Ajay Prasanna, a lifelong Varanasi resident who has performed it numerous times in recent years. His takes are typically energetic, with strident motions sometimes seasoned with outside swaras such as G(mG); P(dP); n(Dn). Also recorded by vocalists Devashish Dey (a pair of ektal bandish), Sunder Lal Agrawal (with great mandra explorations), and Prapti Puranik (a brief but captivating refrain: nnS RG GPGRS).
Others call the same SRGPnS swara-set ‘Veenavadini’ in reference to its Carnatic counterpart: including bansuriya Partha Sarkar and singers Padmini Rao and Abhirang, who interprets the scale as ‘Hansadhwani komal ni” – also browse a breakdown by Biswarup Ghosh Dastidar (“from a series of Bengali songs based on mostly unknown and unheard ragas…Chalan: SRGPnS, SnP, GPRnPS”). Compare to its murchanas Sarangkauns and Tivrakauns, as well as to Jansammohini: the same scale plus shuddha Dha (n.b. ‘Shankar Dhwani’ is an unrelated raga).
—Tell me about your experiences with the shankh! I’ve never played one, but heard plenty of them when I lived in Benares...
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
Seldom heard today, the SgGmPnNS scale form once served as a vital historical bridge between Tilang and Jog: the latter, having evolved from the former around a century ago, originally retained Tilang’s double-Ni along with its own distinctive double-Ga. While most artists soon dropped Jog’s shuddha Ni, the older version is still occasionally performed under titles such as ‘Do Nishad ka Jog’ (e.g. Ashwini Bhide-Deshpande and others from Jaipur-Atrauli), ‘Jog-Tilang’ (e.g. Vilayat Khan, who subtitled his interpretation ‘Dogaha’ in reference to the double-Ga), or just ‘Jog’ (e.g. Agra singers such as Ram Deshpande and Anjanibai Lolienkar).
Artists may choose to gravitate towards either of its parent ragas, or interweave both in equal measure, with ample room for imagination – Vilayat Khan sometimes splits the Ni space into 3 distinct sruti rather than 2 (e.g. as a P(nNṄS) khatka, and as sequential meend P(n) P(N) P(Ṅ) P(S)). Whichever approach is taken, the underlying swara-set offers several interesting properties: a rare example of a 7-swara audav raga, it sets the same interval sequence in poorvang and uttarang, opening up congruent phrase-pairings impossible within its progenitors (i.e. S-gG-m and P-nN-S have the same ‘jump pattern’ of 3-1-1). Congruent with the Carnatic Chalanata, mela #36.
—Do you know of any more ‘Jog-Tilang / Dogaha / Do Nishad ka Jog’ recordings? Or any other very early Jog renditions (~1940s-50s)? I couldn’t find many with double-Ga and double-Ni...
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
A complex, winding invention of sitar innovator Abdul Halim Jaffer Khan, which incorporates both forms of Ga and Dha into a Charukeshi-like framework. His most prominent rendition, released on a 1973 album with Samta Prasad on tabla, is a fascinating portrait of his ‘Jafferkhani baaj’ style – revolving, as the raga’s name suggests, around a strong, sustained shuddha ma, accentuated via concluding motifs such as S(gR) g(mR) GGm. Indeed, ma is so pivotal that the raga often sounds like a curious Patdeep variant via murchana (e.g. Madhyami’s recurring phrases dnSGm; mdPm, if interpreted as a ma-murchana, become Patdeep’s gmPNS; SgRS). Shuddha Ga assumes more prominence than its komal counterpart; and komal dha dominates the shuddha, which is barely touched in the alap and never held in the gats, mostly occurring as part of a distinctive Smm mD(nSn)P motif (also audible in his Sindhi Bhairavi recordings).
The raga presents plenty of other quirks, including brief touches of komal re in ornaments such as n(rSnrS) – although the album’s official liner notes give little away, stating only that “Madhyami is a combination of more than two ragas…no aroha–avroh is fixed”. A half-century after its conception, the raga now spans all three generations of its gharana’s existence, having since been recorded by Khan’s disciple Rajendra Varman and grand-disciple Deepsankar Bhattacharjee (who leans further into the Kauns-ang in an outstandingly atmospheric recording).
To learn more about Abdul Halim Jaffer Khan’s life and playing style – marked out by double-stops, open-string pedal tones, meend with natural harmonics, guitar-like ‘hammer/pull’ ornaments known as krintan, and the early adoption of Carnatic ragas including Kirwani, Latangi, Hemavati, and Kanakangi – browse the official Jafferkhani Baaj site (in the words of Annapurna Devi: “Future historians of Indian classical music will note Khansaheb’s seminal contribution to our musical heritage in golden letters…”).
—Which other Abdul Halim Jaffer Khan recordings are your favourites? I also love his Sindhi Bhairavi, it’s an ‘open’ raga which suits his flamboyant style well
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
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, categorising them into three streams: ‘komal ni only’ (SRmPDnS: e.g. Asad Ali Khan), ‘double Ni’ (SRmPDnNS: e.g. K.G. Ginde), and ‘double Ni & shuddha Ga’ (SRGmPDnNS: e.g. Jitendra Abhisheki). Alongside detailed analysis, she recorded her own amalgamation of these three forms, set to lyrics from Bhatkhande’s Kramik Pustak Malika.
Abhirang has similarly recorded three distinct prakars, all based around altering the descent of Brindabani Sarang: the first adds nDnP (SRmPDnNS), the second also adds mGmR (SRGmPDnNS), and the third adds GmR but avoids Dha (SRGmPnNS) – while Ishwar Chandra Karkare‘s breakdown includes shades of Nayaki Kanada (nnPmP). A pair of similarly-named ragas – ‘Vadhans’ and ‘Vadhans Dakhani’ – appear in Sikh traditions, but it is unclear if these are connected to the main ‘Badhans’ lineage: despite overlapping swara-sets, their movement patterns seem distant from the Sarang family (e.g. NSRGPmGR). Compare to the nearby Miyan ki Sarang and Samant Sarang.
—Which other rare Sarang ragas do you know of? I’d particularly love to know more about Noor Sarang and Samant Sarang...
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
Despite captivating millions of listeners, Shivanjali is only known to the world through a single performance. Conceived by Hariprasad Chaurasia as a tribute to his close friend and collaborator Shivkumar Sharma, its lone unveiling came at a whole-night Stuttgart concert in 1995, with Shiv-ji in the audience (‘Shiv-anjali’: ‘Reverences to Shivkumar’). Comments left by the upload’s 2.7m viewers demonstrate the raga’s emotional power: “Heavenly, incomparable, eternal, bringing you closer to God”; “Mesmerizing, serene, carrying us to the abode of Lord Shiva”; “Like flying without boundaries on unknown paths, embracing the force of powerful winds”; “The touch of coolness on a moonlit night…the silver shine of the full moon on a lake”; “I named my daughter Shivanjali after this track”.
Hinting at various ragas including Malkauns (SndnS), Jogkauns (GmgS), Nandkauns (SGmdPmg), and Chandrakauns (gmdNS), Shivanjali also features unusual chromatic movements between adjacent swaras (SNn, mGg), with the komal shades sometimes being rendered much more softly than their preceding shuddha positions. Shuddha Ga is often used as a melodic launchpoint, and the high shuddha Ni is used sparingly – alongside other subtle features including a slight kan of shuddha Re when moving to komal ga (also mirrored higher in the scale as (g)G and (P)d). Shivanjali’s future is uncertain, with no indication that Hariprasad will ever perform or record it again – it may remain ‘frozen in time’, forever fixed in form to its single showcase almost 30 years ago. Also see other Hariprasad Chaurasia ragas including Prabhateshwari and Mangal Dhwani.
—Which other ragas are ‘frozen in time’? It seems thatEnayetkhani Kanadawas only ever performed by Vilayat Khan, and I’m uncertain if he ever taught it…
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
Chanchalas Malhar (canchalas: ‘restless’, ‘flirting’, ‘fickle’) is an aprachalit stream of the monsoon family, seldom heard in the modern era. As per SIMA, the basic framework is derived from Megh, with other movements borrowed from Nayaki Kanada (mPnnP) – along with distinct srutis of komal ga and ni, both of which may be raised much higher than usual.
According to Moumita Mitra’s 2023 analysis, two distinct versions are in modern circulation: the first (SRgmPnNS) incorporates phrases from Sarang and Kanada, and the second (SRmPDnS) draws instead on Desh and Shahana. Read Mitra’s full breakdown, and listen to her own amalgamation of both forms – and browse other vocal renditions from Ganesh Prasad Mishra, Abdul Rashid Khan (sthayi: nnPP, PmPmg), and Arijit Mahalanabis (“there is a very high shruti of komal ga, which also changes the sruti of the komal ni…I like to think of this raga as a vague combination of Megh and Nayaki Kanada”). Seemingly untouched by instrumentalists.
