Raga Abhogi Kanada

Beginning composition in Abhogi Kanada

This Karnataka import into the Hindustani stream has found wide acceptance. Abhogi
Kanada is perhaps the only audav-jati Kanada prakar, and has the following set of swaras: S
R g m D. It is immediately obvious that the uttaranga based Kanada signature –

has no place here. The prime mover for Kanadic affiliation here is the komal gandhar, in
two modes, viz.,

and/or the Darbaric

The sancharis

are recurrent. Some few make a distinction between Abhogi and Abhogi Kanada by de-
emphasizing the Kanada presence in the former.

Raga Allahiya Bilwal

Advanced composition in Allahiya Bilwal

The Bilwal thaat is composed of the seven shuddha swaras and corresponds to the Carnatic
melakarta Shankarabharanam. The features of Raganga Bilawal are best embodied in its
flagship raga: Bilawal, often referred to as Alhaiyya Bilawal. The lakshanas of Raga
Bilawal are heuristically explored.
G m R G P, [P] m G R S
This tonal phrase suggests the alpatva nature of the madhyam in the Arohi movement. The
latter half embeds a vital gesture. The P in square brackets signifies a peculiar 'shake'
imparted to it. Parenthetically we may note that this is also a seminal phrase in Bihag, a
raga of Bilawal extraction. The intonation - uccharana - so critical to Bilawal is difficult to
convey with the written word.

The kan of R imparted to the rishab and the coupling of D and G merit consideration. The
arc of
is a Bilawal signpost, the precise intonation of which is later addressed by Pandit
Ramashreya Jha "Ramrang." It bears emphasizing that although the dhaivat is the vadi, it is
not a nyasa swara. A careless elongation of D can effectively ruin Bilawal.

This tonal strip is the preferred launch for uttaranga forays and a recurring theme in all
Bilawals.

The first of these tonal sentences illustrates a key avarohi locus, terminating with a nyasa
on the gandhar. The second phrase has the komal nishad tucked in, the manner of which is
peculiar to Bilawal.
Some people regard Bilawal and Alhaiyya Bilawal as two different ragas, positing that the
latter contains the komal nishad whereas the former doesn't. I see no reason to make that
distinction and consider them to be one and the same raga. The lakshanas of Bilawal have
an existence independent of the komal nishad whose inclusion (or exclusion) does not alter
the Bilawal landscape in any essential way.

Raga Komal Rishab Asavari

Beginning Composition
This raga is also known as Asavari Todi and properly belongs to a discussion of Asavari
anga ragas. Although the Asavari anga serves as its base, there is a soupçon of Todi. Its set
of notes is identical to Bilaskhani Todi but the raga-charitra follows the Asavari dicta. A
few schools use both the rishabs (eg. Allauddin Khan of Maihar). Then there's the allied
Raga Gandhari to watch out for.

Raga Basant Bahar

IIntermediate Composition in Raga Basant Bahar

 
Raga Basant Mukhari
Intermediate Composition

Basant Mukhari emits alternating scents of Bhairav (in the poorvanga) and Bhairavi (in the
uttaranga). There are no universally accepted precepts for this raga in its Hindustani
adaptation. In some treatments the Bhairavanga is not articulated, whereas in others it is.
This raga corresponds to the 14th Carnatic melakarta, Vakulabharanam: S r G m P d n.  It is
a truism that a mere scale does not a raga make.

Raga Bhairav
Beginning Composition

Bhairav is so fundamental to Indian tradition that its impact on the nation's musical soul can
never be overstated. Even the unlettered in the land is familiar with its germ in some form
or the other. The overlay of Bhairav strains on an early, bucolic Indian morning affords a
purifying experience like no other. Verily, it falls to the lot of the noblest of rAgas,
deserving of renewal and reflection in the portals of the mind every single day.
The swara set constituting the Bhairav thaat - S r G m P d N - is congruent with the 15th
Carnatic melakarta Mayamalavagoula. Raganga Bhairav (Bhairavanga) is composed of two
chief threads, one each in the poorvanga and uttaranga regions.

The point of note here is the special Andolita treatment accorded the komal rishab in the
avarohatmaka movement. This uccharana is vital, represents Bhairav's signature, and at
once precipitates the Raganga.

This is the uttaranga marker of the Raganga. The swara lagav of both r and d is Andolita, a
sine qua non for effective expression of the Bhairavanga.
The lakshanas of Raga Bhairav are now formally fleshed out:

The komal nishad, while nominally varjya, is nevertheless cultivated through the Andolita
nature of the dhaivat. That is to say, it is "gupt" (hidden) and rarely laid out explicitly in
notation although in some of the old Dhrupad compositions there is a somewhat less
inhibited recourse to the komal nishad. Notice the pancham - 'langhan alpatva' (skipped) in
the Arohi movement and 'nyasa bahutva' (point of repose) in the avarohi mode. This is
characteristic of Ragadari music where a swara may be called upon to wear multiple hats in
service of the raga. The swara, it must be emphasized, is not synonymous with note.

The dhaivat is now caressed with the shuddha nishad, the retreat from

is mediated by a meend.  The intonational nuances are difficult to convey through the
written word.

The rishab is often rendered alpa and skipped in Arohi movements. An occasional deergha
madhyam makes for a pleasing effect. The treatment of gandhar calls for careful handling
since an inopportune nyasa may inadvertently create an Avirbhava of Raga Kalingada.
Ragas Kalingda and Gouri (Bhairav thaat) use the same set of notes but embody different
Ragangas.
Building on the foregoing discussion leads to the following formulation:

The gayaki of the raga thus outlined is complemented by straight Arohi-avarohi runs

and other supporting gestures

Raga Bhairavi
Raga Bhairavi Sargam Beginning

Raga Bhairavi Fast Gat Beginning

Raga Bhairavi Slow Gat Intermediate

Raga Shudda Bhairavi Intermediate

Raga Shudda Bhairavi Kaharwa Dhun Advanced

The word "Bhairavi" derives from one of the eight forms of the Devi, born in the burial
grounds. So fanatically loved and widely embraced is Raga Bhairavi that its elemental
imprint is firmly fixed in the mind of even the untutored Indian rasika. The swara-set of this
melody hews to the 8th Carnatic melakarta, Hanumatodi. Bhairavi is also one of the ten
fundamental Hindustani thaats postulated by the great sangeetaggya Pandit Vishnu Narayan
Bhatkhande.
Although Bhairavi is a major league raga it stands apart from other ragas of like stature in
one important way: its use of all 12 swaras, a signal feature of the Bhairavi praxis. The five
vivadi swaras not members of the original set are implemented judiciously without injury to
the basic raga swaroopa. In this latter form the melody so presented is often termed "Mishra
Bhairavi." Dhrupad and Dhamar compositions abound. In the Khayal tradition Bhairavi is
mainly presented through chhota khayal (druta bandishes), and auxiliary genres such as
Tarana, Tappa, Thumri and the like. Bada khayal presentations are extremely rare although
such compositions have been written (eg. S.N. Ratanjankar). Outside the Classical realm it
is well-nigh impossible to tread without frequent run-ins with Bhairavi: it thickly inhabits
every conceivable genre - Bhajan, Geet, Ghazal, Qawwali, Natyasangeet, Rabby Shongeet
and so on.
The central Bhairavi themes will be first sketched followed by a brief discussion of some of
the typical variations prescribed. Clearly, much detail will be left unwritten.
The driving phrases of the poorvanga are:

The gandhar above denote a shake on that swara that is sui generis of Bhairavi. This cluster,
if properly intoned, at once precipitates Bhairavi.

The rishab and/or the pancham are often skipped in Arohi prayogas, viz.,

The uttaranga forays are launched via:

This is very Malkauns-like.

Since Bhairavi is a sampoorna raga, straight runs of the

are frequently admitted. A more complete sentence is:

Stitching together these elemental patches, a chalan of the 'shuddha' swaroop of Bhairavi is
formulated:

The typical modus operandi for each the five vivadi swaras is enumerated.
Shuddha rishab:
This R is the vivadi swara most invoked in Bhairavi.

Shuddha dhaivat: g m P d P, D n d P

Shuddha gandhar: S r g m, m G m, S r G r S
The shuddha gandhar does not lend itself to a very good fit.

The nyasa swaras are S, g and P; in addition, m and d are often sought for elongation. As to
the vadi no consensus prevails. Traditionally m has been considered for the role but in
recent times the accent has been on other swaras. For instance, the d and g are the vadi and
samvadi, respectively. These differences in outlook and interpretation notwithstanding
there is no mistaking the core of Bhairavi.
A variation known as Sindhu Bhairavi retains all the mannerisms of the parent Bhairavi
with the rishab augmented to its shuddha shade. These days Sindhu Bhairavi is sung with
both the rishabs and both the dhaivats as well as all the other notes making a chromatic
raga.

Then there are other variants such as Jangla Bhairavi, Kasuri Bhairavi and so on. All these
are relatively minor offshoots originating of the Bhairavi stem.
This just about completes the prolegomenon concerning Bhairavi's internal matters. The
raga affords a wide compass for rumination and numerous melodic templates with which to
direct and develop its motifs have evolved.

Obiter dictum: The profoundly significant Raga Bilaskhani Todi is carved out of swaras
from the Bhairavi thaat. The kinship ends there. For Bilaskhani Todi is a horse of an
entirely different color with its special prayogas, its Todi-anga uccharana and its meends
are very different. A step into Bhairavi territory is the kiss of death for Bilaskhani.

Raga Bhattiyar
Advanced Composition in Raga Bhattiyar
Raga Bhatiyar is heard only at the crack of dawn, coincident with a
customary rite when Indian ladies, armed with state-of-the-art spices, take
control of their sovereign space to negotiate the day's culinary projects. The
name of this old raga is said to derive from King Bhartrhari; this may well
be a good example of inventive etymology.
Bhatiyar's attractive facade belies its complexity. It exhibits directional (i.e.
Arohi and avarohi) asymmetry in tonal construction and punctuation. The
seed capital is supplied by Ragas Mand and Marwa, their respective strands
conjoined by special swara-sangatis. Bhatiyar is an abstract type raga, where
the whole is not the sum of the parts. While the latter comment may be
generally true of every raga the gaps to be filled in the more 'abstract'
melodies require substantial preparation and internalization of the
underlying aesthetic spirit.
The definitive movement in Raga Bhatiyar is the propulsive leap

an artifact of its Marwa heritage. The dhaivat is rendered deergha

(elongated) and followed up by a Mand-inspired

culminating in a nyasa on the madhyam. The melodic thought at this point is

typically concluded on the shadaj via

P G, P G r, S –
where the second (P G) subgroup looks to the rishab. The crucial point here
is the avarohi nyasa on the madhyam, that swara being of utmost value to
this raga. A pause on the pancham following
 
must be avoided.

launch is just as frequent. The madhyam is elongated but not accorded full
nyasa in the Arohi flow. A typical melody may look like:
S m, m P, m D P m, P G, P G r, S
Or, when the avarohi nyasa on the madhyam is illustrated, it may assume:

Here the avarohi madhyam-nyasa is highlighted.

The uttaranga forays have a life of their own and are initiated from the
teevra madhyam in a Marwa-like cluster:
 For instance (careless handling may invite undesirable Marwa effects):

A more complete Chalan is:

 Raga Bhimpalasi
Beginning Composition in Raag Bhimpalasi

Beginning Composition in Raag Bhimpalasi

Advanced Composition in Raag Bhimpalasi

An Alap in Raag Bhimpalasi

The notes (swaras) of Bhimpalasi are from the Kafi thaat which corresponds to the 22nd
Carnatic melakarta Kharaharapriya: S R g m P D n where The asending/decending
(Aroha/avarohana) set may be stated as:

The Aroha-avaroha hardly reveals the rich melodic possibilities in this Rag. It is the subtle
idea of Raga that takes one beyond mere scales. It’s the abstraction and intellectual leap
beyond a scale and into the realm of Raga that must be considered a signal achievement in
the history of music.
Bhimpalasi traces its antecedents to the now almost defunct Raga Dhanashree of the Kafi
thaat (Dhanashree of the Bilawal thaat is still occasionally performed). In Dhanashree the
primary Aroha-avaroha contour outlined above is retained but is characterized by a
dominant pancham. When the accent is shifted off the pancham and the madhyam advanced
there lies the developmental character of Bhimpalasi distinguishing it from Dhanashree. It
is this preponderance of the madhyam (nyasa bahutva) that gives the raga its allure.
The kernel of Bhimpalasi is encapsulated in the following tonal movement:

Notice the m-centric nature of the phrase and the reprise of m g.

Supporting movements are:

The rishab and dhaivat are langhan (skipped) in Arohi movements but are assigned the role
of passing tones in avarohi runs. There is symmetry in the elongation of R and D through
the clusters

And as the Raga progresses, an evolution from a feeling of nostalgic sadness to an over
coming heroism is contained in these phrases as the D becomes slightly more prominent.

is the typical launch vehicle for the antara.

The descent looks innocuous but there are always those gotchas to watch out for. A
spurious phrase of the type

may soil the development whereas it is fine to state such movement as

Some musicians, notably from the Agra school, view Bhimpalasi as a union of two
component ragas, viz., Bheem and Palasi. Accordingly, their Bheem drops the rishab
altogether and Palasi the dhaivat (the Bheem of the Khamaj that is today better known by
the name "Gavati").

Raga Chandranandan (Ali Akbar Khan) 

Advanced Composition  

This raag was created by Ustad Ali Akbar Khan. Its main poetic impetus is derived from
the image of Krishna and the gopis playing with the moon, hence its name: "chandra", the
moon and "anand", bliss. Ali Akbar has composed many instrumental gats in this raag and
has set them to different taals. The stately Dhamaar taal, however, seems to be the most
frequently used. Various vocal compositions, including a "Bengali style" khayal and
taranas exist in Chandranandan. It is made up of four raags which are blended to produce a
distinct melodic entity. The raags are:

Raag: Chandranandan
Thaat: Asavari

Vadi - m
Samvadi - S

Raga Charukeshi
Intermediate Composition

Raga Charukeshi is a janya of the 26th melakarta of the same name with the following set S
R G m P d n.
Faced with a 'new' scale set, there are several ways to go about constructing a raga. The
Hindustani instinct is to view the constituent poorvanga and uttaranga portions of the scale
in terms of familiar entities. Thus, for instance, the poorvanga cluster, S R G m, suggests
itself as a staging ground for Nat-like behaviour. That would entail positing a powerful
madhyam with concomitant dilution of the value of gandhar.  An alternative is to advance
the gandhar to evolve a different svaroopa. Similarly, the uttaranga opportunities
immediately sought by the Hindustani mind are Asavari (and through it, Darbari-like
behaviour) and Bhairavi. The strength and importance of the dhaivat (nyasa swara) seems
to have been appreciated by all. The vault in avarohi sangatis –

brings in a fleeting Avirbhava of Darbari but since the full Darbari machinery is not
employed the promise remains unfulfilled. Bridging the poorvanga-uttaranga interface is
yet another familiar phrase fruitfully exploited: the definitive Bhairav cluster - G m d, d, P.
These are some of the favored lakshanas to look for in the Hindustani accounts of
Charukeshi.
Amir Khan's manner of dhaivatic approach and attack stands out. There is the R G m R S
type of movement, also heard in Nat Bhairav; and the Bhairav-esque G m d, P. Take note of
the

 
N. Ratanjankar's conception is strong on the pancham. The advance is through

Another standout is the SRGmPmGR cluster. The Darbaric

is also heard. Special sancharis - GmPdn, d, P and G m n d, P - reach out to the komal
nishad and retreat. Ratanjankar was intimately familiar with the conceptual foundations as
well as the practice of Carnatic music and one wonders if his treatment retains any of the
original Carnatic flavor.
Ramashreya Jha "Ramrang" has composed a whole suite in Charukeshi and the two
compositions adduced here are masterpieces. Jha-sahab places a premium on the madhyam.
There are Nat-like phrases such as SR RG Gm, in the poorvanga as also the Bhairav effect
via G m d, P. The pancham is skipped occasionally in avarohi sangatis (d m). The dhaivat,
pancham and madhyam are evidently dominant.

Raga Desh
Beginners Sargam in Raga Desh

Advanced Composition in Raga Desh

Another Advanced Composition in Raga Desh

Advanced Composition in Raga Desh Malhar

Raga Desh falls to the Khamaj thaat and has the following Aroha-avaroha contour:

The gandhar and dhaivat are varjya (absent) in Arohi movements (although in some older
compositions the gandhar is occasionally discerned in Aroha).  The avaroha is sampoorna.
The shuddha nishad is employed in Aroha and the komal nishad in avaroha; this hews to
the line of the well-established aesthetic principle in Indian music where the higher shade
of a swara prevails in ascent. The utterly magical ambience created by Desh lies in its
special swara prayogas, in particular the potent role assigned to the rishab. The definitive
gestures are now addressed:

The rishab serves not only as a location of nyasa but also as a center of melodic gravity, the
point where melodic forays often originate from, point to and terminate at.

intonation is crucial, pregnant with a meend from m to R grazing G en route. It is this

subtle, seemingly innocuous, touch of the gandhar that has turned Desh into a horse of a
different color and hastened the demise of its progenitor, Raga Sorath.

The first cluster shows a quaint Desh artifact, namely the jump from R to n. The elongated
N in the second sub-group is standard Desh issue for the uttaranga launch. Notice the
langhan (skip) of the high S on the way down via

A straight trajectory along

is also routine.

This prayoga illustrates another key G-laden cluster, to wit,

The coupling between R and P is vital. The role of G cannot be overstated: it

is not a nyAsa sthala but its mediation along the

locus makes for Desh's lifeline.

Desh, like Khamaj, is a kshudra prakriti raga and is often subjected to
variations drawn from other ragas. The komal gandhar is fruitfully
recruited in a vivadi swaroopa, especially in the tar saptak. Elements of
Malhar (m R P or the chromatic slide from n-N or N-n) are sometimes
woven into Desh and the melody then termed as 'Desh Malhar.'

Raga Gaud Sarang

Beginning Composition in Raga Gaur Sarang

Intermediate Composition in Raga Gaur Sarang

Advanced Composition in Raga Gaur Sarang

Gaud Sarang employs all the seven shuddha swaras plus the teevra madhyam. Its internal
structure is beholden to elements of the Bilawal anga, presence of the teevra madhyam
notwithstanding. "Gaud Sarang" is a misnomer because there is no trace whatsoever of the
Sarang Raganga anywhere within driving distance of its zipcode. Some musicians refer to it
as "Din ki Bihag" (the daytime counterpart of Bihag).  Never-the-less, it is a raga played on
hot summer afternoons and is said to have a cooling effect.  This point alone puts it in the
sarang family of ragas.
Raga Gaud Sarang has a vakra build and falls to the class of 'abstract' ragas. By "abstract" I
mean that it is not a scalar raga, amenable to reconstruction with elemental Aroha-avarohi
phrases. These considerations render a quick apprehension of its internals challenging.
Nevertheless, like the proximate melodies Kedar, Hameer and Nand, its identification
presents no difficulty to the layman since it advertizes a distinct signature to latch on to.
The definitive swara group, central to Gaud Sarang, is:
S,GRmG

The rest of the raga is built around this kernel. In so doing, angas of other ragas such as
Bihag and Bilawal are invoked, potentially leading to a tirobhava due to those melodies.
Let us briefly examine the raga lakshanas.
This Gaud-inspired tonal byte in the poorvanga carries the soul, or if you will, the G-spot of
Gaud Sarang. The intonation of the signature - S, G R m G - from the rishab to madhyam is
mediated by a graceful arc, and is followed by a characteristic intonation of the pancham
(shaken, but not stirred). The avarohi slide P m G concludes with a nyasa on the gandhar.
The uccharana of the madhyam is crucial: the swara is rendered deergha (elongated) but
falls well short of nyasa.
The pancham is strong, a nyasa swara.

This tonal sentence outlines in broad strokes the conduct prevalent in the uttaranga and the
avarohi chemistry.
A sample chalan is now formulated:

 As in the case of other abstract ragas, a wide variety of supporting phraseology is
observed. Some musicians approach the tar shadaj via a Bihag-like
 

whereas others adopt a

type of launch. The downward contour S D P m G follows a grazing locus reminiscent of

Bilawal. A  P, R S  often brings to conclusion many a melodic gesture. Note that the
uccharana of  P, R S,  while it looks similar to the

of the Kalyan Raganga, discloses its own subtle and distinct punctuation (hinted at by a
comma following the pancham). This last construction is actively relegated or shunned by
some musicians (the Maihar for instance).
The values assigned to N and M are variable. This manner of laxity often appears chaotic to
the outside observer but existence of this "benign anarchy" without injury to the core idea is
characteristic - and a strong suit - of Indian tradition, musical and otherwise. The kernel of
Gaud Sarang is universally recognized by all: how one goes about building upon it is a
matter of Gharanic affiliation, individual taste and capacity. In heavily vakra ragas, the raga
structure is sometimes relaxed in faster movements, more so in Khayal renditions. This
allowed slackening (the term employed is "shithil") is almost always in the avarohi
direction - a quick

is not unheard of in Gaud Sarang or Kedar. Finally, the komal nishad may occasionally
make a cameo appearance as a vivadi swara in phrases such as

although I personally never use such a phrase.

Raga Hemant
Advanced Composition in Hemant

This raga was advanced by Baba Allauddin Khan of Maihar.  Baba Allauddin's choice of
the raga name is curious. "Hemant" (winter) is embedded in Sarangdeva's shloka on Bhinna
Shadaj: "Having Brahma for its presiding deity, it is sung on the occasions of universal
festivity in the first quarter of the day in winter [Hemant] to express terror (bhayanaka) and
disgust (bibhatsa)".

The basic idea in Hemant is the positioning of the pancham and rishab swaras in the
downward locus of Bhinna Shadaj. The swara-lagav of the pancham is measured, and
occasions great delight if done well.

G m D N D (m)P m

The pancham is given a glancing touch, often with a grace of m as in (m)P m. Although the
pramana of P in the overall scheme remains alpa, musicians bring along their individual
spin to its lagav.

G m (G)R, S or G R S
The rishab is deployed only in the avarohi mode. In the first instance above, it may be
rendered deergha.
Hemant is a madhyam-pradhana raga and a little thought shows that a murchhana on the
madhyam facilitates an Avirbhava (onset, appearance) of Raga MaruBihag.

Raga Hemant has increasingly found favor among the vocalists, a rare instance in our time
of a successful crossover from the instrumental provenance. Its voyage to the 'other' side,
adaptation to the new idiom, and the retention of its moola tatva (core values) merit some
consideration. Among the influential composers who have erected khayals in Hemant are
Ramashreya Jha "Ramrang," Balwantrai Bhatt "Bhavrang", Laxmanprasad Jaipurwale and
Dinkar Kaikini. Younger musicians such as Ashwini Bhide have also been active on this
front.

Raga Jaunpuri
Beginning Composition in Raag Jaunpuri

This raga is very close in spirit and substance to the R-only Asavari so much so that some
musicians (for instance, Omkarnath Thakur) do not acknowledge any difference between
the two. In recent times Jaunpuri's dominance on the concert stage has virtually
extinguished the shuddha rishab Asavari. A widely accepted point of departure in Jaunpuri
concerns the komal nishad in Arohi sancharis. Whereas in Asavari n is langhan alpatva
(skipped) en route to the shadaj that stipulation is relaxed in Jaunpuri. Still other minor
areas of independence from Asavari are suggested, such as a higher value for P over d. As
in the shuddha rishab Asavari, R receives a pronounced grace of S. All said and done,
Jaunpuri deeply embodies the Asavari-anga. A sample chalan is formulated:

Jaunpuri is often rendered with a lightness of touch in contrast to the solemn Asavari.

Raga Kafi
Advanced Composition in Raag Kafi

The Kafi Thaat is among the ten proposed by Pandit Vishnu Narayan Bhatkhande in his
taxonomic scheme. It corresponds to the 22nd Carnatic melakarta Kharaharapriya, known
in early Carnatic literature as Shree-raga mela, and wields the following swara-set: S R g m
P D n.  Large swaths of the Hindustani ragaspace remain beholden to this thaat for it is the
mother lode of not only major ragas but also of several key Ragangas (Kanada, Malhar,
Bhimpalasi, Dhanashree, Bageshree and so on).
For several centuries this saptaka - and not Bilawal - was the "shuddha" scale of the
Hindustani system.  Ancient Indians were deeply familiar with its forerunner, the Shadja-
grama of the treatises of antiquity. Kafi the raga, however, is not as ancient. Bhatkhande
writes that the name first appears in around the 15th century. 
Raga Kafi has come to us mainly from folk music. In India, ragas such as Kafi, Bhairavi,
Pahadi and Piloo scarcely require formal instruction. One grows up with them, their spirit
seeping into the dermis through osmosis. By the time a student embarks on a systematic
study, these ragas are expected to be part of his or her mental furniture.
Let us flesh out it’s central lakshanas. Raga Kafi's signature is ensconced in the following
tonal phrase:

This recurring phrase and the avarohi termination on R are characteristic of Kafi.
Let us develop that motif.

The pancham and avarohi rishab are nyasa swaras.

A sample uttaranga flight path:

The shuddha nishad is often deployed in some schools:

As is the shuddha gandhar, in a vivadi role. For instance:

A couple of final observations: it is not uncommon for the gandhar to be skipped (langhan)
in Arohi prayogas - S R m P D m P g R. An uttaranga foray bearing the shuddha nishad, of
the form m P N S, may also be observed. These ploys betray an influence of Sindhura.
Kafi is accorded a great deal of latitude.  A 'pure' version of Kafi is seldom heard in
performance; almost all instances fall to the Mishra Kafi lot.

Marwa
Advanced Composition in Raga Marwa

Marwa is among the ten thaats enumerated by Pandit Vishnu Narayan Bhatkhande and is
characterized by the swara set, S r G M P D N, corresponding to the Carnatic melakarta
Gamanasrama. The flagship raga this thaat bears commandeers it’s name but omits the
pancham altogether. The same holds true for two other principals of this group - Pooriya
and Sohani. The three ragas maintain a collegial but contrasting melodic dynamic. It is
therefore instructive to view them together under the same lens. Here is a marvelous
example of the magic of Raga music - the evolution of differences originating from the
same scale set through the agency of chalan bheda (melodic contours), uccharana bheda
(intonation of swara) and vadi bheda (relative emphasis of swara). Facility in this sport
demands cultivation of appropriate habits of mind and ceaseless reflection. But the game is
well worth the candle for the Ananda it brings to the sadhaka.
The main idea in Raga Marwa is the overwhelming dominance of r and D. This is an
apavada since no consonance exists between r and D; it must have been a genius who
sensed the germ of an idea here and brought it to melodic fruition. The definitive tonal
sentences are:

The points of note in this poorvanga phrase are the nyasa on rishab and dhaivat, the langhan
(skipping) of the S in both Arohi and avarohi directions, and the alpatva
(smallness/weakness) of N.

D, M G r G M D, D M G r
The madhya saptak movement. Marwa typically employs 'khada' swaras - a direct and
unwavering lagav, shorn of delicacies and meends (the situation is different in the scale-

congruent Raaga Pooriya).

The uttaranga marker where the nishad is often skipped en route to the shadaj (Pooriya too
shares this lakshana, but not Sohani).
That was Marwa in a nutshell. The symbiotic relationship between r and D is affective.
Both the swaras are full-blown nyasa locations, yet bound to one another by an invisible
cord: the pull of one is strongly felt when you visit the other.

Raga Shree
Intermediate Composition in Raag Shree (Slow Tintal)

Intermediate Composition in Raag Shree (Jhaptal)

Advanced Composition in Raag Shree (Fast Tintal)

Shree is a very old raga of the Poorvi thaat corresponding to the 51st melakarta of the
Carnatic paddhati, Kamavardhini, with the following swara set: S r G M P d N. Shree is
also a Raganga Raga subsuming and lending seed material to several other melodies (eg.,
Triveni, Jaitashree, Shree Tanki and so on). Raga Shree of the Carnatic paddhati is an
altogether different raga although there exists a curious relationship: a simple flip-flop of
the swaras of the Carnatic Shree from or to their vikrita forms yields an approximate
contour of the Hindustani Shree. Notice that a similar correlation holds true for other name-
congruent pairs, eg., the Carnatic Hindolam and Hindustani Hindol or the Carnatic Bhoopal
and Hindustani Bhoopali.

The nominal Arohana/avarohana of Raga Shree may be stated as:

The Aroha/avaroha does not convey much and must be seen as a very preliminary aid.
Although it has been stated here at the outset, it is really an ex post facto construction.
Knowing a Raga involves investigation of its 'biochemistry', the position of all the swaras
employed, their interrelationships and the prayogas. Shree is meend pradhana, of vakra
build, and requiring of special swara uccharana (enunciation). It places unusual demands on
the musician's reflective daemon and calls for cultivation of proper habits of mind and
voice. In the hands of a master Shree can lead to an ennobling experience.

In the Arohi movement Shree omits the gandhar and dhaivat. The central idea is the
coupling of the komal rishab and pancham, the vadi and samvadi swaras, respectively. The
intonation of the rishab tugged with the gandhar and the meend-laden rishab to pancham
coupling define Shree's signature. Therein also lies the key to its gambheer, maestoso
personality. The r-P-r coupling cuts both ways. S, r and P and are extremely strong swaras
(nyasa bahutva); the M, d and N swaras assume subsidiary values. The avarohi retreat is
tricky as the entire locus cleaves through a minefield of meends. The definitive movement
–

is an important signpost of Raganga Shree. Execution of fast tans in Shree is tough. It can
be easily verified that a rapid run of rMPN is non-trivial (since it tends to slide into rMdN).
Recognition of such speedbreakers dictates the construction of tans; the tendency is
primarily towards avarohi tanas in this raga.

The essence of Shree is difficult to convey through the written word alone. Fortunately,
today's technology permits a multimedia exposition. To get the raga's gestalt it is
recommended that you allow some of its key tonal movements to ricochet in the walls of
your mind for at least a week or so.

We have cobbled together two representative chalans, one each for the poorvanga and
uttaranga regions. Observe the treatment accorded the rishab, the r-P-r interaction and the
meends in descent.

First, the poorvanga:

The uttaranga chalan:

Todi
Beginning Composition in Raga Gugari Todi

Advanced Composition in Raga Gugari Todi

Beginning Composition in Raga Todi

Intermediate Composition in Raga Todi

Intermediate Composition in Raga Todi

Advanced Composition in Raga Bhupali Todi

We begin with an inquiry into the Todi Raganga. The scale of the Todi thaat corresponds to
the 45th Carnatic melakarta Shubhapantuvarali: S r g M P d N. The Raganga Raga Todi is
known variously as Miyan ki Todi, Shuddha Todi and Darbari Todi. The kernel of Raganga
Todi is embodied in the following tonal strip:

This poorvanga-based prayoga contains the heart of Raganga Todi and is sufficient to
establish the Raganga. Additionally, a strong (nyasa bahutva) komal dhaivat in the
uttaranga rounds off the overall Raganga picture. The uccharana (intonation and
punctuation) of the intimate interaction between r and g is critical else Todi would be dead
on arrival. These two swaras are manifested 'en suite,' establishing, so to speak, a symbiotic
relationship within the local melodic ecosystem, mutually imparting and receiving kans.
The movement 
with a nyasa on the gandhar is vital and the reverse lingers on the rishab before its eventual
dissipation on S.

The

interchange accrues as a gradual transition with one swara evolving into the other and
precipitates the 'Todi effect', a palpable uneasy sensation.
The features of Raga Todi are now summarized:

This represents the Raganga signature.

g M d, N d, d M g r, g, r S
This movement highlights the nyasa bahutva dhaivat and the langhan alpatva (skipped)
nature of the pancham.

S r g M P, P M d, d N d, P, dMgr, g
Here the pancham is shown as a nyasa swara. The specific treatment accorded P is a
function of the performer's background and taste. Some prefer a liberal use, others use it as
a repose location in avarohi prayogas only to release tension following an uttaranga foray.
The madhyam and nishad are always at hand but subordinate to the other swaras.

The nishad is sometimes brightened (deergha), especially in the mandra saptaka, and
occasionally skipped (langhan alpatva) en route to the tar shadja:

 In Gurjari Todi, the pancham is eliminated but the overall conduct hews to the Todi line.
Some musicians suggest additional artifacts to distinguish it from Todi such as a stronger
role for the komal rishab.