S-r-G-M-P-D-N-S

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A long-lived and diffuse sonic lineage variously referred to as ‘Baradi’, ‘Barari’, ‘Varati’, and ‘Varali’, which appears in several overlapping modern forms, typically spanning the territory around Marwa thaat (Bhatkhande’s Sangeet Shastra Vol.3, published around a century ago, notes 13 distinct variants). Some artists omit tivra Ma, and others may add komal dha (‘Poorvi–ang’) – with Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar explaining that “different versions [appear] in different gharanas – in [ours], it is sung in three different ways: with only shuddha Dha, with only komal dha, and with both dha” (refer to her pair of breakdowns for more detail: transcribed below). Parrikar‘s analysis notes that K.G. Ginde’s rendition of a Ratanjankar bandish is built around core combinations including SGPDGP; PDMG MGrS; NrNDNDP (“the first cluster draws from Jait, the second from Bhankar, and the third from Puriya Kalyan”).

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—Anandrao Limaye (~1980s)—

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[motifs, e.g. 6:42] P P(DPMP) S, S(P) P(SPrS)G r, r\S S; (Nr)S\D D\P P\G G(SGMPM)P…

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Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson pair, covering the raga’s ‘main’ and ‘Marwa-ang’ incarnations (from her superb Amodini: The Joy of Rare Ragas series):

 

“Today, I come with the third ‘shade raga’ in this series, Raag Baradi. In my last two videos (Lajwanti and Vihang), I have given you a few details of the ragas – but here, I feel it is necessary to give some more details about these shade ragas – mainly, how to listen to them, because, unfortunately, day by day, they are becoming rarer. Basically, all these ‘chaya’ ragas come under the classification of ‘sankirna‘ ragas – but I use the term ‘chaya’ (‘shade’) for simplification. When we come across such ragas, many names may be unfamiliar to you – and their structures can be very complicated. So, some of you may feel like running away from them!

 

But I personally feel that – while all these grammatical details are very important for the musician to perform it within the correct framework – they are not at all important from the listener’s point of view. Let me explain: when you listen to classical-based Hindi (or, for that matter, Marathi) songs, do you try to analyse which ragas they have used, or which phrases they have combined? No! You just listen to the 3-minute song as a whole melody, and get engrossed in it. Similarly, when you listen to these ‘shade ragas’, it is my personal, humble suggestion that you listen to them as a ‘whole melody’, and don’t try to analyse it grammatically or technically – let this analysis be done by the musicians and scholars.

 

With this, we go back to Baradi. This raga has different versions in different gharanas – in Jaipur-Atrauli, it is sung in three different ways. The first is with only shuddha Dha (‘Marwa-thaat’: which I will explain in a second video) – another is with only komal dha, and the third version is with both Dha (this is the version I will explain here). Let’s begin with the bandish: rGMGrG rS, SG GP GP, GP PMdP, GPPdM MPMG, MGMP NDS, SS(rNS)N(D), D(ND)S NrS, (N)dP, M(PMG)MG; rGMGrG rS, SG GP GP, PP(dPMP)G, GMD(ND)S SS, SS, SNrS, (D)NDGrS, rNSN DNrS, NdP, P(dPMP)G rG; rGMG rS, SG GP GP…

 

As this is a shade raga, it is ‘phrase-based’. I will now explain these phrases with reference to the bandish, and name the ragas found in them:

• [Jait Kalyan] SSG, GP, GGP
• [Puriya Dhanashree/Gauri] PdP(d)MG rG, PdPdPMG, MGrS
• [Puriya/Puriya Kalyan] MPNDS SNrS, M(N)DNS, DNrGrS, NrS

Let us see how we combine those phrases to make Baradi: SG, GP, dP, PdMG, GrG, GrS, NrS, SGMG, MGrS SG GP, GGP, MdPdP, PGGP, MDS, NrS, SNrN, DrNrNdP, rNdP, MDSrNdP. The intricate use of both Dha: PdP, MDS, rNdP G, SG GP, dMG, GrS. So the complete picture is like this: SG GP PGP, M(PM)dMG GP GdMGrS; M(N)DS, DNrGrS, NrN, NDSNrNdP, MDNr NdP, P(GP)GrGP, MG(rG)PG rG, MGPdM, rGrS(NS), G(SG)P.

 

As this is a sankirna raga, you will find different versions of the same bandish (for example sung by Pandit Mallikarjun Mansur with only komal dha). I will conclude with a composition in tintal…”

 

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—Baradi: both Dha (Amodini demo)—

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“Today, I come with another version of Raag Baradi: that is, the ‘shuddha Dha’ (or ‘Marwa-thaat’) Baradi. I will begin with the bandish: SGrS, SrG(rG) rGPGP, GMDMG, M(GM)GrGr, SSNrS, (S)PG GP, GM(N)DNr NDM, MMGrG rS, SrG(PGPG)P GP, P(DPMP) PS, NrGrS, rNDP, DP, MG, MMGrGS, SSGGP, PDM, G(M)MGrG rS, SrG(PGPG)P GP.

 

As this is a ‘shade raga’, I will explain it phrase-by-phrase with reference to the bandish, and mention the main raga shades within those phrases:

• [Bibhas shuddha Dha] SrGrGP, GP, PGrS; SrG, rGP
• [Jait Kalyan] SSGGP, PSPG; SGGP
• [Puriya/Sohini/Puriya Kalyan] MDS, NrS, SDNrGrS, SrSNND, DrS, MDS, DNrG, rS
• [‘connecting phrase’] ND, ND(M)G, SNND, ND(M)G, MMGrG, rS

These are the main shades which you will find in this shuddha Dha Baradi. Now we will see how the raga is elaborated: SG GPG, MGr GrS, DNrG, rS, SrG, rGP, D(M)G, PD(M)G, MMGrGrS, PPS, DNrGrS, SrSNND, rSNNDD(M)G, MGr, SSGGP(D)MG, MMGrG rS, SrG(rG)P, GGP, P(MP)M NDrN, NDND(M)G, GNDND, MMGMGrG, rS, SrG, rGP. Those are the main phrases. I will conclude with a bandish in tintal…”

 

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—Baradi: shuddha Dha (Amodini)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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• 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: Marwa thaat, Puriya Kalyan, Shree Kalyan, Purva

–Proximate Forms–

Marwa = ‘Baradi no Pa‘

Shree = ‘Baradi komal dha‘

Yaman = ‘Baradi shuddha Re‘

Rampriya = ‘Baradi komal ni‘

Hansa Narayani = ‘Baradi no Dha‘

Bhatiyari Bhairav = ‘Baradi shuddha ma‘

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

–Swara Geometries–

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• Core form: S–r–G–M–P–D–N–S

• Reverse: SrgmMdNS

• Negative: 4-1-2-3-2 (e.g. Sundarkauns)

• Imperfect: 2 (re, Pa)

• Detached: none

• Symmetries: none

• Murchanas: Deepavali (on Pa)

–Global Translations–

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• Carnatic: ~Gamanasrama (mela #53)

S-R₁-G₃-M₂-P-D₂-N₃-S

• Jazz: Lydian b2

1-b2-3-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-6-7-9-11-0

(1–3–2–1–2–2–1)

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o o • • o • o o • o • o o

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• Tanpura: Sa–Pa

• Names: Baradi, Barati, Barari, Barali, Varadi, Varati, Varari, Varali, Varathi (n.b. ‘Varati’ is said to be the original name)

• Transliterations: Hindi (वरादि); Odia (ବରାଡ଼ି)

—Rajshekhar Mansur (2017)—