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

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An Agra gharana speciality, Barwa blends ideas from Kafi (mP, mgR; mPDNS), Sindhura (SRmP; Pg), and Desi (RPRg). The komal ga tends to be omitted in aroha, and ma is rendered deergha, while Re–Pa 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). Listen 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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—Waseem Ahmed Khan (2021)—

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

–Swara Geometries–

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• 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

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

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–Global Translations–

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• 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)

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o • o o • o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Barwa, Barava

—Buddhadev Dasgupta (~1990s)—