Albeit a Carnatic raga, this is widely sung and played by Hindustani classical musicians; but the treatment differs vastly. Some call it Aabhogi Kanada due to its Kaanada-ang (feature).
Thhaat (parent scale): Kafi
Jaati (category): Audav (5 notes each in ascent-descent)
Vaadi (dominant swara): Madhyam (M)
Samvaadi (second dominant swara): Shadja (S)
Swaras (notes): incorporates oscillating Komal Gandhaar (g), rest shuddh swaras
Aaroh (ascent): S R g M D S’ (Western Notes: C D D# F A C)
Avaroh (descent): S’ D M, g R, g M R S (Western Notes: C A F, D# D, D# F D C)
Chalan (gait, key phrases): S, D.D.S, S R g M, M M D g, M g M D, S’S’, S’D S’, D R’R’D,S’, S’-DMD,g M, RS, R D.-S.
This omits Pancham and Nishad and is an Audav (pentatonic) raga. The long spaces between two notes seem to speak a lot while the oscillating Komal Gandhar (g) adds deep shades of pathos to its divinely regal character. The phrase g M R S brings in the Kanada-ang. Shades of Durga and Bageshree should be carefully avoided while elaborating the raga.
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