S-R-G-m-P-D-nN-S

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A seldom-heard neighbour of Khambavati, distinguished (often very subtly) by stronger use of shuddha ma, and sometimes involving a Gm\S catchphrase. Both ni swaras are used, with the komal introduced via vakra avroh motions (e.g. SRn). Named after a huge evergreen tree species with fragrant yellow-orange flowers, used in perfumery and featured in myths and legends from Indian history (including a famous tale of a dishonest champak: “Narada went back to the tree and cursed it for lying. He said that its flowers must never again be used in the worship of Shiva…and cursed the Brahmin, saying that he would be reborn as a demon…”). Compare to other members of the Khamaj raganga.

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• Raga Masterlist (1000+) •

राग चंपक

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• Hindustani Raga Index •

—Narayanrao Vyas (~1960s)—

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[refrain, e.g. 0:01] PmGS Rm, m(Gm)PD m(Gm)G, PmGS Rm, m(P)G (R)S, S(nDnDP)S, SRG(RS), SRG RGm m(PmP)G(R), PmGS Rm…

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• More •

Histories, melodies, mythologies, etc…

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—Imagery: Champak flowers—

“These beautiful trees have many common names: champak, champaca, michelia, golden champa, joy perfume tree, banana shrub, white sandalwood, and white jade flower. The derivation of ‘shampoo’ is the Hindi word ‘champo’ (to massage), from the Sanskrit ‘champa’ – as the tree was traditionally used to make fragrant hair and massage oils. It yields finely textured, dark brown and olive-colored wood, and certain groves are considered sacred. The white champaca hybrid (magnolia-alba) is prized for its pure white flowers, which are floated in water bowls as Buddhist temple offerings…” (Matt Ritter)

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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

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Desh, Des Malhar, Alhaiya Bilawal, Devgiri Bilawal, Kukubh Bilawal, Bihagara, Bihagda, Nat Kamod, Gaud Malhar, Sorath, Arun Malhar, Tilak Malhar

Also compare to other members of the Khamaj raganga

–Proximate Forms–

Khamaj = ‘Champak only ni‘

Bilawal = ‘Champak only Ni‘

Miyan ki Malhar = ‘Champak komal ga‘

Shankara Karan = ‘Champak tivra Ma‘

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

–Swara Geometries–

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• Core form: S–R–G–m–P–D–nN–S

• Reverse: SrRgmPdnS (=Gandhari)

• Complement: SrgMdS (=Firozkhani Todi)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (Gm—nN)

• Murchanas: Bihag set

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

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–Global Translations–

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• Carnatic: ~Balahamsa

S-R₂-G₃-M₁-P-D₂-N₂-N₃-S

• Jazz: Bebop Dominant

1-2-3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-7-9-10-11-0

(2–2–1–2–2–1–1–1)

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o • o • o o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Champak, Campak

• Transliterations: Hindi (चंपक)

—Roshan & Ghulam Abbas Khan (2021)—