S-r-g-M-P-d-n-S

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A strange sampurna scale, equivalent in shape to ‘Todi komal Ni’ or ‘Bhairavi tivra Ma’ (or ‘Todi’s poorvang + Bhairavi’s uttarang’) – indeed, the scale matches a historic form of Todi itself (Bor: “Todi Varali…first mentioned by Ahobala c.1665, with the scale SrgMPdnS”). Aside from Sa and Pa, Komal Ramkali has no shuddha swaras – but all five vikrit positions are available (rgMdn), opening up a variety of odd dissonances, with the irregularly-spaced cluster of gMPd requiring particular care. The only renditions I can trace are by scholar-singer Ashok Da Ranade, who emphasises the komal dha amidst long, looping melodies – and Kirana vocalist Moumita Mitra, who in 2023 released a stellar pair of compositions and a superb demo lesson (transcribed in full below). She recounts finding the raga in an old textbook (Nawab Ali Khan’s 1913 Marif-un-Naghmat), and summarises her version as “a blend of Bhupali Todi and Ramkali” (in the words of listeners: “Ramkali was the defiant daughter of Bhairav…This raga is definitely the stepsister who was a bad influence on Ramkali!”). Abhirang recently recorded the same scale under the title ‘Arpan’, interpreted as ‘Multani with a komal ni’ – also compare to the congruent Carnatic Bhavapriya (mela #44), as well as a trio of strange ragas ‘enclosed’ by Komal Ramkali’s scale: Firozkhani Todi (SrgMdS), Mangal Gujari (SrgMdnS), and Saheli Todi (SrgPdnS). And for a more in-depth look at the scale’s geometric quirks, see my 32 Thaat article – including discussion of how it forms the ‘missing link’ in an implied chain of common raga scales (‘start with SRGMPDNS, then flatten in order of ascending 5ths from re…’).

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Aroha: SrgPMP, gPdS

Avroh: SdP, MPdndP, PgrS

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Chalan: e.g. SrgPd, S, rSdPMP, ndP, MP, P(M)grS, SddMP dMnndP, PdndM P(M)grS, rgP, rgd, MP(M)grS, gP gnndP, gPdS, PdrrSd nd, PdndMdP, PdP MP P(M)grS, dSrg dd ndP, MdP P(M)grS (Mitra)

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—Moumita Mitra (2023)—

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[sthayi | antara, e.g. 0:01] PgrS, S/d (Pd)P (Pd)n ndP, P(dP)MP (Pd)n ndP; PgrS, S/d… | gPdS S\d d/rS, dS(rSgr) (rSr)S, S dndP; gPdS S\d…

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Histories, melodies, mythologies, etc…

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—Moumita Mitra’s analysis—

Despite looking hard for ragas which matched the SrgMPdnS scale form several years ago, I found nothing until Moumita Mitra’s Komal Ramkali videos were uploaded in 2023. She has put admirable effort into resurrecting the raga: not only singing it superbly, but also going into its workings it in an excellent demo lecture. Below is a full transcription of what Mitra has to say about the raga, lightly edited for clarity:

 

[Komal Ramkali: Jhoomra] “I found the raga and the composition in a traditional textbook [Nawab Ali Khan’s 1913 Marif-un-Naghmat]. I matched it with a short audio clip I found by Dr. Ashok Da Ranade-ji – and from these two references, I could make out the structure of the raga [see chalan above]. From his recording, I could hear that the dha was highlighted a lot, so I tried that in my rendition. As the name suggests, the komal ga has been used – as have Ramkali phrases with tivra Ma and komal ni: MPdPndP, dMP, (g)ndP, Pdnd, MPdP, MPMd, P(d)n, ndP. So the playfulness of the Ma & ni combination is present, like in Ramkali – as well as movements using the komal ga: Srg PgrS, dMP, grSrgrS, dSrgPdP. It can have elements of Bilaskhani Todi (SrgP, gP, dP), and Bhupali Todi (PgrS). And in uttarang we may skip ni when approaching Sa: Pd (d)S, rS, dndP, PdndP MPdPndP, P(d)S.”

 

[Komal Ramkali: Tutorial] “I got this from a traditional book, which had a composition from which I could understand the chalan. It’s more or less a blend of Bhupali Todi and Ramkali: from Bhupali Todi we have komal ga phrases (SrgP, PgrS), and from Ramkali, the phrase with tivra Ma and komal ni (MPdndP MP). They are blended like this: SrgP MP(M)grS; rgPdP MP(M)grS. Since the name ‘Todi‘ has not been mentioned, Ramkali is highlighted more (for example with MPdndP), and I will try to avoid Todi phrases like rgrS. Instead, we descend with phrases like dPMPgrS; rgPdP, dMP Pdnd P(M)grS. The aroha is SrgP, dS, and the avroh is SdP, MPdndP, PgrS.

 

Another element which can make the raga somewhat unique from both Bhupali Todi and Ramkali is the phrase PMP P(M)g, with a meend from Pa to ga via Ma. Like PMP P(M)grS, rgPMdP, PdMPg, gPmdP, PdPM, MP(M)grS; grS dPmP, SrgPdMP MdP, gPdPM P(M)g, rgPdP(M)grS. And we can sometimes descend using S(n)d, placing a ni in the meend. The nyas swaras can be Sa, ga, and Pa: demonstrated by phrases like: rgP, P(M)grS, dSrgP P(M)g, dSrgrS rgP gdP, grgP dP, rgP dP. Pay special attention to these patterns: dPdMP dndP; dP(M)g, P(M)g, grS; S(n)d PdPMP(M)g, MP(M)grS, dPMP(M)grS, SrgrgPdS, dPMPndPM P(M)grS; rgP dP(M)P P(M)GrS…”

 

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—Moumita Mitra demo (2023)—

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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: (Thaat #16)

–Swara Geometries–

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• Core form: S–r–g–M–P–d–n–S

• Reverse: SRGmMDNS

• Negative: 2-4-1-2-3 (e.g. Firozkhani Todi)

• Imperfect: 2 (Pa, ni)

• Detached: 0

• Symmetries: none

• Murchanas: Kedar set

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• Quirks: no shuddha swaras, and all five vikrit positions (rgMdn)

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–Global Translations–

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• Carnatic: Bhavapriya (mela #44)

S-R₁-G₂-M₂-P-D₁-N₂-S

• Jazz: Phrygian #4

1-b2-b3-#4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-3-6-7-8-10-0

(1–2–3–1–1–2–2)

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o o • o • • o o o • o • o

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• Tanpura: Sa–Pa (+dha)

• Names: Komal Ramkali, Komal Raamkali, Komal Raamkeli

• Transliterations: Hindi (कोमल रामकली)

—Ashok Da Ranade (~1980s)—