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Hindōḷam

Janya of Naṭabhairavī (20)

Contemplative; pentatonic minor

Ārōhaṇa (ascending)

  1. S
  2. G₂
  3. M₁
  4. D₁
  5. N₂

Avarōhaṇa (descending)

  1. N₂
  2. D₁
  3. M₁
  4. G₂
  5. S

Signature phrase

S G₂ M₁ D₁ N₂ Ṡ

The pakad (catch-phrase) is the 4-8 svara motif that defines this raga's identity. Internalise this phrase first — it's what your ear reaches for when the raga returns to its home base.

When to play

Evening ālāpana and soulful padams/javalis. Ideal after a bright opening raga; never as a cold-open for beginners.

Time: Night (niśā-kāla).Rasa: Karuṇa and śṛṅgāra in a restrained register.Position: main

Gamaka signature

Ga and Ni take wide andolan; Ma is often held plain as the pivot. The phrase S G M D N D M G S is the raga's spine.

Historical context

Classed as a janya of Hanumatōḍi (mela 8) in the modern scheme. Popularised in concert by artists who favoured deep vilambita ālāpana without Pa.

Key compositions to hear first

  • Sāmajavara Gamana — Tyāgarāja
  • Māmava Pattābhirāma — Muttuswāmi Dīkṣitar

Listen to Hindōḷam

Arōhaṇa-avarōhaṇa exposition with tampura drone.

Kṛtis in this rāga· 4 entries across 3 composers

Tip: open the raga × composer cross-search on /composers to explore any other raga.

Sangeet Parijat — Ahobala's notes

Graha (opening)
Sa
Aṁśa (king svara)
Ga
Nyāsa (rest svara)
Sa
Time
After 2nd prahara
Gīti
Bhinnā
Gamaka
jaaru

Audava pentatonic. The Ma-Ni leap with jāru is signature.

Compose in this ragaPractice this raga

Similar ragas

Top 5 by mūrchhanā + aṁśa + nyāsa + graha + gītī overlap. Match score shown.

Hindōḷam — Karunattu