S-rR-G-m-P-D-N-S
An alternate form of the far more prevalent Basant (‘Springtime’), named for its intimate connection to the ceremonies of that season. Many see Adi Basant as the latter’s ancestor, highlighting its historic prevalence in Dhrupad and Haveli Sangeet. Usually played before dawn, Adi Basant remains rare outside of the Dagarvani lineages and associated Dhrupad zones.
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• Hindustani Raga Index •
—Bahauddin Dagar (2019)—
[sanchari phrases, e.g. 0:05] (SN)D(ND), (N)D, D(SNr)S, S(NS), NS(NrS), N(D), DS(N), DS(N)G r, r, S, D(NS), N(S), S(DN), (G)m, (G)m, (G)m, r, S…
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Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
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.
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.
–Swara Geometries–
• Core form: S-rR-G-m-P-D-N-S
• Reverse: SrgmPdnNS (=none)
• Inverse: ni; SmdnS (=none)
• Imperfect: 2 (re, Ni)
• Detached: 1 (re)
• Symmetries: none
• Murchanas: Miyan ki Malhar (on Re)
–Global Translations–
• Carnatic: (~Vasantha)
S-R1-R2-G3-M1-M2-D2-N3-S
• Jazz: Ionian (dbl. 2nd)
1-b2-2-3-4-5-6-7-8
• Pitch classes (‘fret-jumps’):
0-1-2-4-5-7-9-11-0
(1–1–2–1–2–2–2–1)
o o o • o o • o • o • o o
• Tanpura: Sa–ma
• Names: Adi Basant, Adhi Vasanta
—Ravi Shankar (1986)—