Distinguished by allowing only four swaras (‘chatu’=four, ‘swara’=tones), Bhavani’s symmetrical shape is akin to a ‘Durga no Pa’. Its intriguing surtar sparsity necessitates a multipolar approach to melodic resolution, tempting a murchana-like refocus towards the triads available from Re (RmD: minor) and ma (mDS: major). Associated with the mid-20th-century experiments of Gwalior vocalist Narayanrao Vyas (who pointed his renditions towards the Bilawal-ang), with others (such as Abhirang) continuing in this vein today.
—Narayanrao Vyas (~1960s)—
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