Rishabh

One scale, same swaras, different moods

Raag Bhoop and Raag Deshkar are closely related pentatonic ragas in Hindustani music, sharing the same five swaras “Sa, Re, Ga, Pa, Dha” with both ascent and descent remaining audav. Despite this identical material, they are distinguished by clearly different melodic grammars. 

Bhoop belongs to the Kalyan anga, and its identity is shaped by phrase patterns that emphasize Ga and Re, with frequent resting points in the middle register. Its movement is generally balanced and measured, avoiding sharp upward thrusts. Typical Bhoop phrases move stepwise and return often to the tonal center, giving the raga a stable, even contour. It is traditionally performed in the early evening, and its character is associated with calmness, clarity, and repose.

Deshkar, by contrast, belongs to the Bilawal anga, and this lineage is audible in its melodic behavior. While it uses the same five notes, Deshkar places greater emphasis on the upper tetrachord, with Pa, Dha, and upper Sa functioning as prominent nyasa points. The raga is uttaranga-pradhana, meaning its melodic weight lies in the higher register. Phrases in Deshkar often ascend quickly and articulate the upper notes more assertively than Bhoop. Because of this upward orientation and its Bilawal-based phrasing, Deshkar is classified as a morning raga and carries a brighter, more energetic profile.

Recently, I encountered two significant recordings of Raag Deshkar by Vidushi Kishori Amonkar and Raag Bhoop by Vidushi Veena Sahasrabuddhe. Listening to these performances side by side revealed a crucial insight into what truly differentiates these two closely related ragas. While Bhoop and Deshkar are often distinguished through familiar markers such as time of performance, tonal focus, or raga lineage, these recordings draw attention to a more decisive factor,  the treatment of the swara Rishabh.

In Veena tai’s rendition of Raag Bhoop, the Rishabh is articulated with remarkable clarity and confidence. Right at the opening of the recording, one hears a broad, well-defined Rishabh; stable, unambiguous, and fully asserted. This boldness of Rishabh anchors Bhoop in the middle register and reinforces the raga’s calm, balanced character.

In contrast, Kishori tai’s interpretation of Raag Deshkar presents a distinctly different Rishabh. Here, the swara subtly inclines toward the Shadja. The pitch itself remains the same, but its intonation and intent are altered. Rather than asserting independence, this Rishabh derives meaning through its relationship with Sa, revealing Deshkar’s upper-oriented grammar and its Bilawal based phrasing.

This contrast demonstrates a fundamental principle of Hindustani classical music: a raga is not defined merely by the notes it uses, but by how those notes are shaped, weighted, and connected. The swara remains constant, yet its behavior transforms the raga’s identity. These recordings make audible the generosity and precision of the Indian classical tradition, where the smallest inflection and a gentle tilt of a single note, can create an entirely different musical world.

Raag Bhoop and Raag Deshkar are like two inner climates born of the same sky. Both draw from the same five pure notes, yet they breathe differently, as if guided by distinct intentions. Bhoop moves with a gentle inward pull. It does not hurry, nor does it rise in display. Its phrases seem to pause and reflect, settling softly on the middle tones, creating a feeling of quiet illumination, like dusk arriving without announcement. There is restraint in Bhoop, a devotional stillness, where simplicity becomes depth and silence feels almost audible. Deshkar, by contrast, turns its gaze upward. It steps lightly but confidently toward the higher register, carrying a sense of awakening and clarity. Where Bhoop listens, Deshkar declares; where Bhoop contemplates, Deshkar affirms. Its movement suggests morning air fresh, alert, and charged with resolve. Though their notes are identical, their souls diverge: Bhoop teaches that peace lies in inward balance, while Deshkar reminds us that the same material, when directed differently, can become courage and ascent. Together, they reveal a central truth of Indian classical music, that a raga is not a scale, but a state of being.

References & Credits

Special thanks to Raju Ashokan and Shiladitya Banerjee Youtube channels for both the recordings.