S-r-g-P-d-S

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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‘.

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Aroha: dSrgPdS

Avroh: SdPgrS

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Chalan: e.g. dS(g)rgrS; S(g)rgP; gPdP; gPdS; SdS(g)r; grS; SdP; gPdPgrS (Bor/Chaurasia)

—Harjinderpal Matharu (2014)—

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[theme, e.g. 0:25] grS, dS, PdSrgrS, grS, dS…

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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: (none found)

–Swara Geometries–

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• 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–

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• 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)

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o o • o • • • o o • • • o

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• Tanpura: Sa–Pa

• Names: Bhupali Todi, Bhupal Todi, Bhoopali Thodi, Bhoopala

—Jayateerth Mevundi (2021)—