S-R-g-m-P-d-n-S

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A rare folk-derived form associated with Hafiz Ali Khan’s Senia-Bangash sarod lineage, often titled ‘Pilu Jungala’ – although Khan’s original renditions seem to lie closer to Darbari and Adana, including a SdnSRg(m) launch phrase and vakra (m)gmRS concluding motions. Further information is scant, although his son Amjad has expanded on the same concept in recent years, adding a greater Pilu influence via introducing shuddha Ni (DnSRgR, (S)NS) and shades of shuddha Ga (GmPmg). Ali Akbar Khan was also known to play a markedly mishra raga titled ‘Pilu Jangula’ (…in fact, all renditions I can trace are by sarodiyas named ‘Khan’) – although his recording has relatively limited phraseological overlap with the Senia-Bangash form, punctuated by a highly unusual chikari tuning of Sa–Ni (n.b. an additional ‘Jungla Bhairavi’ is occasionally performed in some sarangi traditions). To hear Jungala in further context, refer to a rundown of Mishra Pilu renditions by sarodiya Rahul Bhattacharya: “Amjad Ali Khan in the early 1990s [plays] a fabulously crafted Pilu Jungala, which morphs into Vilayat Khan’s famed Gara composition, then onto Enayet Khan’s wondrous Bihari gat, then a few heritage compositions in pure Pilu which can be traced back to Mohammad Amir Khan. The opening Pilu Jungala is a pedigree composition of Hafiz Ali Khan…”.

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—Hafiz Ali Khan (~1960s)—

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[gat, e.g. 0:01] dnSR(R)g, gmPP(P) (m)gmRS nR(R)SS, (SR)mR gR SS, dnSR (g)R(g)R SS, dnSR(R)g…

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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

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.

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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: Asavari thaat, Asavari (shuddha Re), Darbari, Kaunsi Kanada, Jaunpuri, Adana, Sampurna Malkauns

–Swara Geometries–

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• Core form: S–R–g–m–P–d–n–S

• Reverse: SRGmPDnS (=Khamaj)

• Negative: 2-3-2-3-2 (e.g. Megh)

• Imperfect: 1 (Re)

• Detached: none

• Symmetries: mirror (m—N)

• Murchanas: Bilawal set

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

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–Global Translations–

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• Carnatic: (~Jonpuri)

S-R₂-G₂-M₁-P-D₁-N₂-S

• Jazz: Natural Minor / Aeolian

1-2-b3-4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-8-10-0

(2–1–2–2–1–2–2)

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o • o o • o • o o • o • o

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• Tanpura: Sa–Pa

• Names: (Pilu) Jungala, Jangola, Jangla, Jingla, Jungol

—Ali Akbar Khan (~1970s)—