S-rR-g-m-P-d-n-S

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An antique late morning raga, listed in lakshanagranthas as a ragini of Malkauns, Asavari’s modern incarnation comprises two variants: an older, Dhrupad-rooted ‘komal re’ form, and a more recent set of ‘shuddha Re’ interpretations. Both forms of the raga call for complex connective motions and expressive alankar around dha, which some artists tune to an ati-komal sruti. Classical ragmala paintings depict Asavari with imagery ranging from a female snake-charmer sitting atop a mountain to hooded cobras observing the world from perfumed sandalwood trees. Depending on re/Re position, can be prakriti with ragas including Bhairavi and Bilaskhani Todi (if re), or Adana, Darbari, Jaunpuri, and Kaunsi Kanada (if Re). Also see Gandhari, a double-Re raga which shares historical overlap with Asavari.

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Aroha: SRmPdS

Avroh: nSRndP, mPdmgrS

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Chalan: e.g. PmPS(n)d; P; PdnS; dgRgRSRnd; P; dmP(m)g; (S)RS; (m)RmPnd; P (Parrikar)

–Pelva Naik (2019)–

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“Asavari is rendered during late morning. It is an expansive raga, accommodating a discernible variety of tempi and ranging over all three octaves…combining poise and pathos with fascinating shifts and subtleties. It consists of many connecting movements demanding unmistakable tenderness: this makes it appealing as well as challenging.” (Ashok Da Ranade)

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—Context—

Origins, myths, quirks, & more

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[COMING SOON: click here to hasten the project’s expansion, so all 365+ raga pages can eventually look more like these]

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• Ragmalas •

Historic miniature paintings (learn more)

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“Asavari Ragini, blue-skinned, charming snakes and fish with wind instrument, with attendant sitting in tree…” (Penn, c.1800)

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“Ink, opaque watercolor, and gold on paper; Rajput style” (Malpura, c.1756) / “Asavari Ragini, page from a garland” (c.1670)

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—Phraseologies—

Melodies, movements, characteristics…

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[coming soon]

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—Sanskriti demo (2017)—

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“Komal Rishabh Asavari is a very sweet morning raga, also referred to as ‘Asavari Todi. It is similar to Bilaskhani Todi, except that in aroha, ga and ni are varjit (instead of ma and ni). In poorvang, Todi-ang appears as Srg; gr; grS. Sa is usually omitted in avroh as Srnd; dSrgrnd – and Pa is a nyas, however it [can be] skipped in avroh like SrmP; PdP; Pdndmgr; rgrS. Although ni is varjit in aroha, it is sometimes used as an anuvadi swara like rnSrg; rnSr. This is a meend-pradhan raga, which can be expanded in all three octaves. The atmosphere created is deep and soothing…” (Tanarang)

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—Listen—

A brief selection of superb renditions

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–Imrat Khan (1969)–

• Imdadkhani surbahar (26m): an unaccompanied komal re interpretation, exploring his instrument’s deep, heavy-strung tones on a Dhrupad-style alap–jor–jhalla, laden with wide meend and gamak (from the comments: “relaxing and mysterious”, “serene, mesmerising”, “heavenly…haunting”):

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[jhalla, e.g. 20:35] rmPdP, rmPdP dPm rmPdP dPmgrS rmPdP, PdndnP, PdndnP Pdndndnd PdndPdnd PdnSrg Srgr Srgr Srgr Srgr Sdnd, Pdnd Srgr Srgr, Pdnd Pdnd…

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–Moinuddin & Aminuddin Dagar (~1965)–

• Dagarvani Dhrupad (25m): from the UNESCO Musical Anthology of the Orient series, recorded in Berlin during the Senior Dagar Brothers’ landmark 1964 European tour with Raja Chhatrapati on pakhawaj (as per the RudraVeena site: “Perhaps the most outstanding and beautiful recording of Dhrupad ever…it was the very first vocal raga music I ever heard…”):

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[motifs, e.g. 13:15] nSr (g)r, r(grgr), r(gr) r/m, mmm, mmm, (P)m (P)m (P)m (P)m/P, PP, dd, dd(P)P, Pd d(m), mP Pm, m/d d(ndndP) d d(nd)n, P(nd) d(nd) m\g\r, (g)r (g)r (dg)r, (Sr)S, S(n) S(n) S, r…

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–Further Recordings–

• Hariprasad Chaurasia (6m): a beautifully concise rendition recorded for Joep Bor’s invaluable Raga Guide (komal re)
• Ulhas Kashalkar (10m): an AUTRIM pitch-graph (komal re: “Since the time I saw Krishna’s countenance, I am restless…”)
• D.K. Datar (10m): violinist and D.V. Paluskar’s cousin (shuddha Re: also hear him accompanying Omkarnath Thakur’s Asavari)
• Gurbani Vidyala (13m): “How handsome is your turban, and how sweet is your speech? Tell me the truth…” (shuddha Re)
• Bhimsen Joshi (15m): “Feel the serenity and energy of dawn; all Joshi’s prowess is on display as he interprets the raga” (komal re)
• Nikhil Banerjee (20m): divine dynaminc control over a pair of dha-focused compositions, with Kanai Dutta on tabla (komal re)
• Allauddin Khan (29m): (komal re: although elsewhere, Khan was known to use both Re within the same performance)
• Venkatesh Kumar (44m): opening a 3hr FEA show, with Ajay Joglekar’s harmonium and Bharat Kamat’s tabla (komal re)
• Kishan Patel (56m): a Dhrupad-style alap–jor–chautal on the rare ‘boro esraj‘, with Tejas Tope on pakhawaj (shuddha Re)
• Amir Khan (77m): slow, introverted melodies, with supremely restrained accompaniment from Chatur Lal (komal re)

• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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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.

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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.

• Prakriti: Asavari thaat, Kaunsi Kanada, Darbari, Adana, Jaunpuri, Kaushiki, Sampurna Malkauns (if, as per Bhatkhande, shuddha Re is taken)

–Proximate Forms–

Bhairavi = ‘Asavari komal re‘

Kafi = ‘Asavari shuddha Dha‘

Charukeshi = ‘Asavari komal ga‘

Malkauns = ‘Asavari no Re/Pa‘

Suha Kanada = ‘Asavari no dha‘

Gopika Basant = ‘Asavari no Re‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

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• Core form: S–rR–g–m–P–d–n–S

• Reverse: SRGmPDnNS (=Desh)

• Negative: 5-2-3-2

• Imperfect: 1 (Re: if shuddha)

• Detached: none

• Symmetries: mirror (rR—Pd: if both Re)

• Murchanas: Bilawal set (if either Re)

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Natabhairavi

S-R₁-R₂-G₂-M₁-P-D₁-N₂-S

• Jazz: Aeolian (dbl. 2nd)

1-b2-2-b3-4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-2-3-5-7-8-10-0

(1–1–1–2–2–1–2–2)

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o o o o • o • o o • o • o

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• Tanpura: Sa–ma (+dha)

• Names: (Shuddha / Komal Rishabh) Asavari, Asawari Todi, Asavaree, Avārau (historic)

• Transliterations: Hindi (आसावरी); Bengali (আশাবরী); Urdu (آساوری); Punjabi (ਆਸਾਵਰੀ); Kannada (ಅಸಾವರಿ)

—More—

Further info: links, listenings, learnings, etc

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• Raag Asavari: [coming soon]

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• Header audio: Tintal bandish by Kirana vocalist Bhimsen Joshi (1968)
• Header image: ‘Asavari Ragini, Fourth Wife of Shri’, from a portfolio of ragmalas from Bundi, Rajasthan (c.1790)

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