S-r-g-P-d-S
A captivating audav raga said to symbolise spiritual purity, which essentially runs along the lines of ‘what if all Bhupali‘s chal swaras were set as komal rather than shuddha?’ (SRGPDS > SrgPdS). Most renditions are poorvang-dominant, drawing from the Todi-ang as well as reshaping phrases from Bhupali, Bilaskhani Todi, and other forms (given the uniqueness of its swara set, there is little danger of over-trespass). Often presents a major-ish flavour, in part as the only ascending chromatic resolutions on offer are the S>r and P>d sangati – strengthening both these latter swaras (and thus drawing attention to the dSg major triad vs. the SgP minor triad). The basic scale shape is also viewable as ‘Bibhas komal ga‘.
• Raga Megalist (365+) •
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• Hindustani Raga Index •
Aroha: dSrgPdS
Avroh: SdPgrS
Chalan: e.g. dS(g)rgrS; S(g)rgP; gPdP; gPdS; SdS(g)r; grS; SdP; gPdPgrS (Bor/Chaurasia)
—Harjinderpal Matharu (2014)—
[theme, e.g. 0:25] grS, dS, PdSrgrS, grS, dS…
• Classifiers •
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: (none found)
–Swara Geometries–
• Core form: S–r–g–P–d–S
• Reverse: SGmDNS (=Kaushik Dhwani)
• Negative: 3-2-1-1-3-1-1 (e.g. Basant)
• Imperfect: 2 (ga, Pa)
• Detached: none
• Symmetries: none
• Murchanas: none
–Global Translations–
• Carnatic: ~Bhupalam
S-R1-G2-P-D1-S
• Jazz: Phrygian (no 4th/7th)
1-b2-b3-5-b6-8
• Pitch classes (‘fret-jumps’):
0-1-3-7-8-0
(1–2–4–1–4)
o o • o • • • o o • • • o
• Tanpura: Sa–Pa
• Names: Bhupali Todi, Bhupal Todi, Bhoopali Thodi, Bhoopala
—Jayateerth Mevundi (2021)—