S-G-P-D-n-S

---

A playful pentatonic form, neatly structured as a stack of ‘regularly narrowing’ intervals (4>3>2>1 semitones). The wide, sparse poorvang (SG) and clustered uttarang (PDnS) combine to bring a reassuring momentum, with increasing melodic urgency as you go higher (a ‘triple jump then a sprint’). Most Kalavati performances tend towards energy and rhythmic charge (Rahul Sharma‘s santoor take is backed by a powerhouse tabla–pakhawaj duo). Given the lack of prakritis, there is little risk of over-trespass on the territory of other ragas, leaving artists free to roam throughout all three saptak at will (consequently, it is often considered as among the most ‘straightforward’ ragas to learn). Despite the primality of its audav scale, the raga only rose to Hindustani prominence in the last century – with likely origins in the Carnatic Valaji. Also see Kalashri (a blend with Rageshri) and Lilavati (which, in some forms, resembles a ‘komal ga Kalavati’).

---

• Raga Megalist (365+) •

राग कलावती

Search | Glossary | Tags

• Hindustani Raga Index •

Context | Melodics | Classifiers | Listenings | More

Aroha: SGP, GPD, GPDnS

Avroh: SnDP, GPGS, nDS

---

Chalan: e.g. SGPD; GPD; PDPS; nDD; nDP; GPD; GDP; GPGS; nDS (Tanarang)

–Rahul Sharma (2002)–

---

“Each session consisted of four different patterns of Kalavati, played for the duration of 20 minutes. Before that, the patient was instructed to relax completely, and concentrate on the music played…Blood pressure scores were measured using a mercurial sphygmomanometer, and anxiety levels were assessed…The findings reveal that the music therapy is effective in reducing anxiety and blood pressure among patients undergoing haemodialysis…” (Joshi & Varghese’s 2015 biomedical research)

---

—Context—

Origins, myths, quirks, & more

---

Debate persists as to Kalavati’s origins. Scholars agree that the scale is a relatively recent addition to the Hindustani ragascape (Ranade: “it became popular in the middle of the 20th century…there are no traditional compositions in the raga, especially no dhrupads or dhamars are found…”) – although it remains unclear exactly how this came about.

 

Many sources cite a Carnatic origin: but, while there is a Southern raga called ‘Kalavati’, it takes the swaras SrgGmPdDnS – with the SGPDnS scale form instead matching Valaji (S-G₃-P-D₂-N₂-S). Ranade agrees that “apart from the name, there is no correspondence between the Hindustani and Carnatic versions of Kalavati” – as does Moutal, who adds that the Northern form “was popularised in Maharashtra by Rao Nagarkar, Roshan Ara Begum, and Gangubai Hangal”.

 

It is unclear if any of these three Kirana vocalists were the one to introduce Kalavati, or whether they might have directly ‘borrowed’ the Southern Valaji in doing so. On the one hand, I can’t help but note that Hangal’s mother Ambabai was an expert Carnatic vocalist – but, on the other, Aarshin Karande notes that “Abdul Karim Khan [introduced it to the North] after his stay in Mysore”. Either way, it quickly gained popularity, soon resonating beyond gharana boundaries (Hangal, who considered it as one of her all-time favourite ragas, would continue performing it well into her 90s…).

 

(Dr. Gangubai Hangal University of Music & Performing Arts, Mysore)

Whatever Kalavati’s exact origins, it inspires a distinct set of emotional colours. According to Kalakar, “the beauty of the raga lies in its simplicity, which gives stress-relief and serenity” – and as per novelist Vikram Seth, Kalavati’s “ornamental beautification…if performed with apt devotion, can depict the flavour of romance” (although Ranade considers that “a tinge of a sense of loss may also be felt…”). And a 2015 biomedical study found that “Kalavati is effective in reducing anxiety and blood pressure among haemodialysis patients”, based on playing Shivkumar Sharma recordings during treatment (“patients were instructed to relax completely and concentrate on the music”: also see Antardhwani).

 

Sharma, in turn, titled his interpretations as ‘Prayers to Saraswati’. Indeed, ‘Kalavati’ translates as ‘one who is adorned with the kalas [arts]’ – an overt reference to Saraswati’s role as the Hindu goddess of arts and learning. To delve further into these histories, see the ‘chausath kalas‘: an ancient compendium of 64 artistic pursuits, which – besides music, dance, painting, and theatre – includes such entries as kavya-samasya-purana (“solving enigmatic verses”), suka-sarika-pralapana (“fostering conversation between male and female cockatoos”), and mlechita-kutarka-vikalpa (“the art of fabricating barbarous foreign sophistry”).

 

Despite its short Hindustani history, still spanning little more than half a century, Kalavati has already established itself as a regular fixture on the modern concert circuit, finding broad popularity among vocalists and instrumentalists alike – as well as inspiring offshoots such as Kalashri, Lilavati, Monomanjari, Ganga, and Milan Gandhar. From here, it seems likely that the raga’s idiosyncratic scale shape will safeguard its melodic identity, leaving future artists ample room for diverse explorations within the simplicity of its curious pentatonic bounds.

 

---

–Nirali Kartik / Taj Mahal Tea (2019)–

---

“Behind the scenes at Taj Mahal Tea, with music direction by Taufiq Qureshi. We considered many ragas, and shortlisted Basant, Malhar, and Kalavati. Basant felt a bit sombre for the visuals, and Malhar is seasonal: hence we decided on Kalavati: shringarik and melodious…” (Nirali Kartik)

---

—Phraseologies—

Melodies, movements, characteristics…

---

Given its short history and lack of prakritis, Kalavati is primarily defined by its scale form rather than relying on particular movement patterns – indeed, few other ragas are so easily recognisable based on scale shape alone. Nevertheless, its unique geometries do tempt performers towards certain melodic tendencies – most notably, vakra motions are prevalent (e.g. SGP; GPD; PDn), being used to control the absolute rate of ascent/descent across the raga’s wide-to-narrow jumps.

 

Pa and Sa, generally accepted as the vadi–samvadi, demarcate two distinct ‘zones’ of the scale. Roughly speaking, there is clustered melodic tension in the ‘narrow’ PDnS uttarang, and a broad, expansive capacity for release in the ‘wide’ SGP poorvang (bringing an ‘athletic’ feel: SGP, PDnS is like a ‘triple jump followed by a sprint’). But despite this intervallic shuffle, the raga always retains a stable sense of structure – its SGPDn intervals narrow at a reassuringly constant rate (exactly ‘one less’ each time: 4>3>2>1), bringing a characteristic momentum, with increasing melodic urgency as you rise upwards.

 

To my ears, the raga invites rhythmic drive: although vocal renditions may suit more restrained tempos, while instrumental takes can even veer into ati-drut territory at times (…witness the cascading jhalla of Rahul Sharma’s double-drum setup). These uptempo tendencies, however, present performers with technical challenges. Despite the scale’s conceptual simplicity, it is physically demanding on ‘up-and-down’ instruments such as the sitar, sarod, and human voice: which struggle to render the wide-jumping SGP sequence at speed due to the sheer distances involved (below: on my sitar, the S>G>P frets span almost 20cm, while the P>D>n>S space totals ~8cm: also see Malashree for an even more extreme case of ‘conceptual simplicity, physical challenge’).

 

 

This phenomenon brings a natural gravity to the uttarang: after all, it’s easier to play when you don’t have to jump or bend as far between each successive tone, tempting artists towards the PDnS space for taans and other rapid elaborations. Ga is often used as the launchpoint for strident upward forays (e.g. GPGPD; GPDnD), and komal ni occupies a special role: as well as being the only non-shuddha swara, it is the only ‘detached‘ tone (i.e. with no swaras a perfect 5th above or below, in this case ma/ga) – and its presence also ‘destroys the symmetry’ of the remaining scale (SGPDS has a Bhupali-style R–d mirror line). Most artists avoid undue pause on madhya ni, with some rendering it durbal or varjit in aroha – although mandra ni typically serves a vital role as the foundation for rising sequences (e.g. nSG; SGP).

 

While Rao’s 1965 Raga Nidhi Vol. 3 states that the raga is “also called Kalavati Kalyan“, it displays no discernible hints of the Kalyan-ang – instead falling squarely into Khamaj thaat. Pakad are variously given as GPDnD; PGS (Swarganga) and SGPSDnSn; SDPGPDPGS (Keshavamurthy) – and illustrative combinations on offer include SGPD; GPD; nDP; GPD; GDP; GPGS; nDS (Tanarang) and SGP; GGPDn; nDPGP; GPDnD; nDS; SGS; SGPGSnD; G\SnD; nDPG; PDPG\S (Moutal). Also refer to the Sawani Shende demo below, including a brief filmi rundown, as well as a lesson from Kuldeep Sagar covering chota khayal compositions in ektal and tintal – and compare to nearby forms such as Jansammohini (+shuddha Re), Malay Marutam (+komal re), and Valaji (the Carnatic precursor).

 

---

–Sawani Shende (2018)–

---

“Aroha–avroh: SGP D(S)n DS(nS); (PSn)Sn D(nDP) P(GPG)G\S | Chalan: SGPDn(Dn); D(nD)P; GPDn(D)S; Sn D(PD); PGPDGP(G); (S)P (P)G G\S…”

---

—Listen—

A brief selection of superb renditions

---

–Gangubai Hangal (~1970s)–

• Kirana khayal (11m): an outstanding rendition by the raga’s most influential exponent, supported by her daughter Krishna – showcasing a more restrained approach to ornaments than many who would follow (bandish: Bol Na Lagi Koyaliya):

---

[bandish, e.g. 0:12] n(Sn) D(PD)P D (PG)P, G(GD)P G\S(nS)…

---

–Debashish Bhattacharya (2022)–

• Bengali chaturangi (5m): in Bhattacharya’s own words, “celebrating the triumph of good over evil, presenting a holy tribute to Maa Durga and her divine power to preserve moral order and righteousness…this composition depicts the power of Durga and the high energy of Navratri Festival“:

---

[refrains, e.g.] SSnnD, GPDn; GP DnS nD PGS, GPDnS n(D); SGSnD nSnDP DnDPGS, PDPGS…

---

–Further Recordings–

• Arati Ankalikar-Tikekar (4m): a crisp Gwalior setting with an ultra-concise nD refrain, ably supported by sarangi
• Aarshin Karande (8m): “a heart-churning Ramayana scene; Rama, Sita, and Lakshmana leave for their exile in the woods”
• Parveen Sultana (15m): divine articulations from the Patiala queen, accentuated by a prominent SPnDSS tanpura drone
• Milind Tulankar (22m): the best of the oddly numerous jaltarang takes (also hear Ranjana Pradhan & Ramesh R Raikar)
• Nikhil Banerjee (22m): the Maihar master in joyful stride (he would later fuse Kalavati with Marwa to form Monomanjari
• Salamat & Nazakat Ali Khan (22m): a famous bandish pair, Lagan More Lage & Bana Bana Aaye (also see Milan Gandhar)
• Amir Khan (23m): a relaxed rendition by the Indore master, drawing limber vowels through an ever-accelerating tintal cycle
• Nusrat Fateh Ali Khan (33m): a fittingly lively qawwali interpretation, featuring flamboyant sargam recitations
• Vilayat Khan (35m): showcasing the Imdadkhani innovator’s virtuosic, vocalistic meend, which even touch Re at times
• Budhaditya Mukherjee (45m): a vigorous 1993 take, building from sequential patterns such as nSGGSn SGPPGS GPDn…
• Rahul Sharma (73m): probably the most fun rendition out there, with a hyper-percussive santoor/tabla/pakhawaj setup

• Guitaragas •

My attempts to capture the raga on electric guitar (see more of these clips)

---

—Kalavati on electric guitar (gat)—

---

Covering the drut gat by Budhaditya Mukherjee above…

---

• Carnatic Origins •

---

—Ragam Valaji—

(Gayathri Venkataraghavan)

---

“Sri Papnasam Sivan lived most of his life in Mylapore, singing bhajan and kirtans cwith great devotion, walking around the temple. Great musicians of his time used to come just to hear him sing with bhakti fervour. In this composition in Ragam Valaji, he [writes of] Mylapore’s quintessential beauties: ‘O Kapali Kripanidhe, Lord of Mylai, which rings with geetam…Lord of Karpaganayaki, Ardanaari; The one who has the great bull as his vahana; The one worshipped by sanakadi munis and devas…”

–All ragas of Carnatic origin–

---

• Experiments •

Novel interpretations of the raga’s essence…

---

—Raga Jazz Style (Shankar-Jaikishan)—

---

Captivating melodies from filmi composition duo Shankar-Jaikishan, released in 1968. Read more in my review of the album’s reissue: “Raga Jazz Style is a rare recording from the rich Bombay jazz scene. While its 1968 release date might suggest a pioneering work of Indo-jazz fusion, part of the recording’s intrigue is that it is not. Rather, it is one of the few surviving documents from a fusion scene that dates back to the 1920s – few realise that jazz was thriving in India before Coltrane was even born…” 

---

• 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: (none found)

Also compare to other ragas matching the generic swaras ‘Sa-Ga-Pa-Dha-Ni‘: including Lilavati (S-g-P-D-n-S) & Milan Gandhar (S-gG-P-D-n-S).

–Proximate Forms–

Jansammohini = ‘Kalavati add Re‘

Malay Marutam = ‘Kalavati add re‘

Lilavati = ‘Kalavati komal ga‘

Milan Gandhar = ‘Kalavati double ga‘

Khamaj = ‘Kalavati add Re/ma‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

---

• Core form: S–G–P–D–n–S

• Reverse: SRgmdS

• Negative: 2-1-1-2-1-2-3

• Imperfect: 3 (Ga, Pa, ni)

• Detached: 1 (ni)

• Symmetries: none

• Murchanas: Kalavati set

–Global Translations–

---

• Carnatic: ~Valaji

S-G₃-P-D₂-N₂-S

• Jazz: Mixolydian (no 2nd/4th)

1-3-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-4-7-9-10-0

(4–3–2–1–2)

---

o • • • o • • o • o o • o

---

–Around the World–

Kalavati’s pentatonic scale form, based around a robust SGP major triad, turns up in various traditions. Most clearly, it matches the famous ‘boogie-woogie bassline’: a staple of blues, jazz, rock, and countless proximate genres. Extrapolated to match the chord-shifts of the 12-bar blues (i.e. transposing the pattern upwards a perfect 4th & 5th to fit the progression’s IV7 and V7 chords), a common path goes as follows:

SSGG PPDD SSDD PPGG;
SSGG PPDD nnDD PPGG;
mmDD SSRR ggRR SSDD;
SSGG PPDD nnDD PPGG;
PPNN RRNN mmDD SSDD;
SSGG mmMM PmMP…

Hear variants of this classic bassline in action on tunes such as Rocker (Louisiana harmonica virtuoso Little Walter), Rude Mood (Texas electric guitarist Stevie Ray Vaughan), Chicago Stomp (piano-roll composer Jimmy Blythe), and Bru’s Boogie Woogie (jazz pianist and odd-time aficionado Dave Brubeck: below). And learn more about its origins in an article by John Tennison (“The Rocks and The Fives, [both] written by George & Hersal Thomas…and recorded in Feb 1923…are the earliest recordings of which I am aware that contain boogie-woogie bass figures…”).

 

---

—Bru’s Boogie Woogie (USA)—

(Dave Brubeck, 1961)

---

For other blues-coincident ragas, see Dhani (equivalent to the Minor Pentatonic), Jog (which approximates the ‘Hendrix chord’) and Tulsikauns (which, on its ma-murchana, matches the SgmMPnS ‘Blues Scale’).

---

• Tanpura: Sa–Pa (+ni)

• Names: Kalavati, Kalawati, Kalavatee, ‘Kalavati Kalyan’

• Transliterations: Hindi (कलावती)

—More—

Further info: links, listenings, learnings, etc

---

• Raag Kalavati: For more on the raga itself, refer to melodic summaries by Tanarang, Moutal, and Rao, as well as Sharada Iyer’s filmi selection. And to delve deeper into the mythologies of its name, learn more about the Goddess Saraswati (“her name means ‘elegant’, ‘flowing’, or ‘watery’: the Sarsuti River, like the Ganges, flows from the Himalayas and is considered a sacred source of purification…some Hindus believe all creatures were born from the union of Brahma and Saraswati: whose son Manu, nourished by the bountiful waters, was able to withstand the Great Drought, and so survive as the definitive repository of the Vedas…”) and peruse the full list of 64 chausath kalas (“It is believed that Bhagwan Krishna possesses these arts. After the slaying of Kamsa and the thread ceremony, Krishna went to the Ujjain ashram of Guru Sandipani. There, within a span of 64 days, he learnt the 14 vidhyas [sciences] and 64 kalas [arts]: each of which would normally take two-and-a-half years to accomplish…”) – plus a discussion of Kalavati’s Carnatic namesake by Ravi Rajagopalan (“Many ragas were mere theoretical constructs of Muddu Venkatamakhin…[and] were given life, flesh, and blood by Muthuswami Dikshitar. One such raga is Kalavati: head of the 31st mela clan…”)

---

• Header audio: Sitar gat (Banna Ban Aaye) in drut tintal by Budhaditya Mukherjee (1991)
• Header image: ‘Garden and Cosmos: The Royal Paintings of Jodhpur’ (Mehrangarh)

---