Barwa | SRgmPDnNS | Hindustani Raga Index

S-R-g-m-P-D-nN-S

An Agra gharana speciality, Barwa blends ideas from Kafi (mP, mgR; mPDNS), Sindhura (SRmP; Pg), Desi (RPRg), and Miyan ki Malhar (nDNS). The komal ga tends to be omitted in aroha, and ma is rendered deergha, while the Malharic Re–Pa pair is often given as the vadi-samvadi. Traditionally associated with the late morning hours, the raga is one of many Kafi-allied forms to have emerged from folk melodies (also see Zila Kafi), only becoming semi-formalised around the 18th century (Bhatkhande notes an older, audav form of Barwa: prakriti with the modern-day Dhani’s SgmPnS). Kuldeep Kumar notes that “until the middle of the last century, Barwa used to be a favourite of vocalists…but is seldom-heard these days”. Refer to classic khayal renditions by Faiyaz Khan & Latafat Hussain Khan (the ‘Prem Das’ and ‘Prem Priya’ of the Agra lineage) – as well as a rare instrumental take by sarodiya Buddhadev Dasgupta.

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[refrain, e.g. 26:10] P(m)P, m\g(mg), m\R (R)g\S, (D)mR (mg)gRS, (PNS)R\n(SnD), NN NS, (PNSRm)g (mgm)g\R, R(Pm)P, m\g…

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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.

• Prakriti: Miyan ki Malhar, Charju ki Malhar, Bahar, Bageshri Bahar, Sindhura, Sughrai, Hussaini Todi, Lanka Dahan Sarang

–Proximate Forms–

Kafi = ‘Barwa only ni‘

Patdeep = ‘Barwa only Ni‘

Desh = ‘Barwa shuddha Ga‘

Chandrakaushiki = ‘Barwa komal dha‘

Tanseni Madhuvanti = ‘Barwa tivra Ma‘

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

–Swara Geometries–

• Core form: S–R–g–m–P–D–nN–S

• Reverse: SrRgmPDnS

• Negative: 5-3-2-2

• Imperfect: 2 (Dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: Miyan ki Malhar set

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

–Global Translations–

• Carnatic: (~Kapi/Kannada)

S-R₂-G₂-M₁-P-D₂-N₂-N₃-S

• Jazz: Dorian (dbl. 7th)

1-2-b3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-9-10-11-0

(2–1–2–2–2–1–1–1)

o • o o • o • o • o o o o

• Tanpura: Sa–Pa

• Names: Barwa, Barava

• Transliterations: Hindi (बरवा); Bengali (বারোয়া)

—Buddhadev Dasgupta (~1990s)—

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!