S-g-m-P-d-n-S
A hexatonic raga of bewitching beauty, Gopika Basant matches the swaras of ‘Asavari no Re’ (or ‘Malkauns add Pa’) – while also inviting shades of Bhairavi from ga upwards. The Sa–ma sangati is strong, and, as noted by Jairazbhoy, descents can mirror the Malkauns scheme of “parallel conjunct tetrachords by oblique use of the Pa” (e.g. in ndm, Pg, mgS: where Pa separates two phrases of identical intervallic shape). While its origins lie in the Carnatic Gopikavasantham, renditions now match more closely to the allied Hindolavasantham via the absence of Re – although the raga’s Hindustani incarnation remains rare (to my ears, a bewildering state of affairs…).
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—Acharya Jayanta Bose (1990)—
[refrain, e.g. 0:53] (gm)P, P(mg)g, gmg\S, SgmP(m)d, d(m)m, (gm)P, P(mg)g, g(P)mg\S…
• 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: Pancham Malkauns
–Swara Geometries–
• Core form: S–g–m–P–d–n–S
• Reverse: SRGmPDS
• Negative: 2-1-2-2-3-2 (=itself)
• Imperfect: 1 (Pa)
• Detached: none
• Symmetries: mirror (rR—Pd)
• Murchanas: Shankara set
• Quirks: ‘self-shadowing‘ (negative form=core form) • ‘atritonal‘ (no available tritones)
–Global Translations–
• Carnatic: Gopikavasantam
S-G2-M1-P-D1-N2-S
• Jazz: Aeolian (no 2nd)
1-b3-4-5-b6-b7-8
• Pitch classes (‘fret-jumps’):
0-3-5-7-8-10-0
(3–2–2–1–2–2)
o • • o • o • o o • o • o
• Tanpura: Sa–Pa
• Names: Gopika Basant, Gopi Basant, Gopikavasant
—Sunder Lal Gandharv (~1980s)—