S-R-G-P-D-S
A Bhupali–prakriti raga which blends Jait with the Kalyan-ang, retaining the former’s strong Pa–Sa sangati amidst descending lines from the latter such as DP(G)RS. Re may be played weakly in aroha, rendering sections of the raga surtar, while glides of (D)G and (P)G are frequent. Seemingly introduced to the ragascape by Jaipur-Atrauli founder Alladiya Khan – and remains rare today, likely due to the challenge of differentiating its swara set from Bhupali and Deshkar (refer to a K.G. Ginde breakdown of their differences, as well as Manjiri Asanare-Kelkar’s demo lesson).
• Raga Megalist (365+) •
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• Hindustani Raga Index •
Aroha: SRGP, DS
Avroh: SDP, GPRS
Chalan: signatures, e.g. PDGP; DPRS; SP; SP, DPRS (Ginde)
—Mallikarjun Mansur (1968)—
[refrain, e.g. 0:40] SS S/P(G), SGP(GS)G (P)G P(GD)P, (GS)G RS, (PDP)D, SDP, P/SS, SS S/P(G)…
• 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: Bhupali, Deshkar, Pahadi
–Swara Geometries–
• Core form: S–R–G–P–D–S
• Reverse: SgmdnS (=Malkauns)
• Negative: 2-2-2-1-2-2-1 (e.g. Yaman)
• Imperfect: 1 (Ga)
• Detached: none
• Symmetries: mirror (R—d)
• Murchanas: Bhupali set
• Quirks: ‘atritonal‘ (no available tritones) • ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• Carnatic: ~Mohanam
S-R2-G3-P-D2-S
• Jazz: Major Pentatonic
1-2-3-5-6-8
• Pitch classes (‘fret-jumps’):
0-2-4-7-9-0
(2–2–3–2–3)
o • o • o • • o • o • • o
• Tanpura: Sa–Pa
• Names: Jait Kalyan, Jeth Kalyan, Jayat Kalyan
—Manjiri Asanare-Kelkar (2020)—