S-R-g-m-P-D-nN-S

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An afternoon raga of the Kanada family, Sughrai shares significant historic and melodic overlap with Suha (the two are sometimes fused as ‘Suha-Sughrai’) – with Mewati vocalist Aarshin Karande describing it as “a ‘higher-shruti‘ version of the more popular Suha” and “an ancient compound of Sarang and Malhar, featured prominently in Haveli Sangeet“. Shuddha Dha is optional, and Pa is a prominent nyas, set amidst other ideas drawn from Adana and beyond. Rajan Parrikar – who considers the raga’s definitive phrase to be nnP, mRS, Rmg – recommends a trio of classic bandish by Bhatkhande, Pranpriya and Rasrang (the latter of which is marked by “free-wheeling linear sorties of NSRmP, NSRS, NPmRSRg”). Also see the related Nayaki Kanada, as well as the numerous prakritis listed below.

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• Raga Megalist (365+) •

राग सुघराई

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• Hindustani Raga Index •

Aroha: SRmgm, PNS

Avroh: SnDnP, mP, gmRS

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Chalan: e.g. SRS; nSRg; mPg; m; RRgm; D; Pg; mRS; mPNS; NS; gmRS; PNSRS; nDnP; nnPmP; Pg; mRS (OoR)

—Arun Kashalkar (2016)—

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[refrain, e.g. 0:59] P/S(SP) (P)nP P, P(nPn) PmP, Pm(g) mgm, (mgm)n PP P(m) (m)nP P, P(nPn) PmP, Pm(g) m(g), (g)m RSR(gS) S, nSR m(g) mg m(gm)RP, m(Pm)n PP, P/S(SP) (P)nP P…

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• More •

Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

• [coming soon]

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—Sughrai (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Bhankar, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Miyan ki Malhar, Ahiri Todi, Bageshri Bahar, Bahar, Barwa, Hussaini Todi, Lanka Dahan Sarang, Sindhura

–Proximate Forms–

Kafi = ‘Sughrai only ni‘

Patdeep = ‘Sughrai only Ni‘

Desh = ‘Sughrai shuddha Ga‘

Chandrakaushiki = ‘Sughrai komal dha‘

Tanseni Madhuvanti = ‘Sughrai tivra Ma‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

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• Core form: S–R–g–m–P–D–nN–S

• Reverse: SrRgmPDnS

• Negative: 5-3-2-2

• Imperfect: 2 (Dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: Miyan ki Malhar set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: (~Kapi/Kannada)

S-R₂-G₂-M₁-P-D₂-N₂-N₃-S

• Jazz: Dorian double 7th

1-2-b3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-9-10-11-0

(2–1–2–2–2–1–1–1)

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o • o o • o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Sughrai, Sugharai, Sugharyee, Sugrai Kanada

• Transliterations: Hindi (सुघराई)

—Rashid Khan (1994)—