Hindolam
A five-note raga without Ri or Pa, with Ga, Ma, Dha and Ni forming its melodic core.
Hindolam leaves out both Ri and Pa. Its melody therefore has a different shape from pentatonic ragas such as Mohanam or Hamsadhwani: the familiar resting point Pa is not part of its note collection.
Scale
Arohana: S G2 M1 D1 N2 Ṡ
Avarohana: Ṡ N2 D1 M1 G2 S
The common modern classification is under Natabhairavi, Melakarta 20. G2 is Sadharana Gandhara, M1 Shuddha Madhyama, D1 Shuddha Dhaivata and N2 Kaisiki Nishada.
Recognising the movement
Notice the opening move from Sa to Ga and the space between Ma and Dha. A phrase can turn back through N2 D1 M1 without passing through Pa. These relationships help orient the ear, but the shape and duration of the notes still matter: the bare scale does not specify every gamaka.
Keep D1 distinct from D2. Changing Dha changes the pitch framework rather than merely adding an ornament.
Compositions
Tyagaraja’s Samajavaragamana is a useful entry into Hindolam. Another composition to explore is Sadasiva Brahmendra’s Bhajare Gopalam in its Hindolam setting. Hear the melody as connected phrases rather than five isolated pitches.