S-r-m-P-d-S

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An enchanting morning raga, matching the swara set of ‘Durga komal re/dha’ (or ‘Shobhawari komal re’), described by Tanarang as “an epitome of bhakti and karuna…straightforward, and expandable in all three octaves”. While audav at its core, multivariate forms of the raga are in existence: some include shades of shuddha Ga in avroh (bringing hints of Bhairav), and Kumar Gandharva’s ever-unconventional take also features varied use of both Ga and Ni – while Aarshin Karande‘s rendition of a Sufi-infused bandish exemplifies an older Jogiya-ang interpretation from the Mewati tradition. Also refer to a concise demo by Ajoy Chakraborty, a superb performance by Kedar Bodas (transcribed below), and a captivating bandish by Ramrang (“describing Shiva’s visit to Brindavan to see baby Krishna, the text verbalises the great Yogi’s response to an apprehensive Jashoda”). Generally considered distinct to Gunakri, despite considerable overlap – with their basic SrmPdS scale shape also being a murchana of Kaushik Dhwani, Amritvarshini, and Japaniya – as well as approximating a common form of the ‘In / Miyakobushi‘ mode of Japanese court music. Compare to other members of the Bhairav raganga, as well as to other ‘jagged‘ scales (those which have no ‘adjacent repeated intervals’).

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• Raga Masterlist (1000+) •

राग गुणकली

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• Hindustani Raga Index •

Aroha: SrmPdS

Avroh: SdPmrS

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Pakad: variable, e.g. PdP; dPmrS

Chalan: (open-form) – illustrative sequences e.g. ddS; rrS; rm; mmPm; PPdm; Pmr; rSddS; mPdS; SrSdP; rSdP; dmPd; mrS (Tanarang)

—Kedar Bodas (2015)—

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[bandish, e.g. 7:43] d P m, (P)m\r, rS(rS) PP, (S)dd P(d)P m(P)m\r(m)r S, Pm r(m)r S(r)S d(S)dS, rrS S(PmP)m m\rr rS S\dd rS (S)PmmP, dPdmPdd, Pdd, Pdd P m…

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• Ragmalas •

Historic miniature paintings (learn more)

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“Gunakali Ragini, from a Rajasthani folio: opaque watercolor and gold on paper” (Jaipur, c.1760) / “This unfinished painting of Gunakali gives us insight into how ragmala artists created their works. After the master’s outline is completed, the sketch would be handed to junior artists in the workshop: to block in colors with brushes, make pinpricks into gold areas with a blunt needle, and rub a smooth stone over the back of the painting to make the pigments glossy. Then, the painting was returned to the master artist for its final details. Only natural materials were used: organic inks and dyes, conch shells, vegetable colors and minerals, including precious stones, pure gold, silver, zinc, and lead…” (Bundi, c.1680)

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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: Gunakri

Also see other ragas with the generic swaras ‘Sa-Re-Ma-Pa-Dha‘ – and compare to the rest of the Bhairav raganga

–Swara Geometries–

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• Core form: S–r–m–P–d–S

• Reverse: SGmPNS

• Complement: SRgGMDnNS

• Imperfect: 2 (Pa, dha)

• Detached: none

• Symmetries: none

• Murchanas: Kaushik Dhwani set

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• Quirks: ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’) • ‘jagged‘ (no ‘adjacent interval repetitions’)

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–Global Translations–

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• Carnatic: ~Salanganata

S-R₁-M₁-P-D₁-S

• Jazz: Phrygian (no 3rd/7th)

1-b2-4-5-b6-8

• Pitch classes (‘fret-jumps’):

0-1-5-7-8-0

(1–4–2–1–4)

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o o • • • o • o o • • • o

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• Tanpura: Sa–Pa (+dha)

• Names: Gunkali, Gunakali, Gunakari, Gunkeli (not Gunakri)

• Transliterations: Hindi (गुणकली); Bengali (গুণকেলী)

—Ajoy Chakraborty (~2000s)—