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

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A long-lived sonic lineage variously referred to as Baradi, Barari, Varati, and Varali, which appears in several overlapping modern forms, usually spanning the territory around Marwa thaat (…although V.N. Bhatkhande’s Sangeet Shastra Vol.3 notes 13 distinct variants). Some artists omit the tivra Ma, and Jaipur-Atrauli singers may feature the komal dha (‘Poorvi–ang’) – while Parrikar 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 Bhankari, the third from Puriya Kalyan”). Also see the similarly Ratanjankar-related Salagavarali.

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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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• 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

–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

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 probably the original name)

—Rajshekhar Mansur (2017)—