S-R-gG-P-D-S

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An oddball product of Kumar Gandharva’s limitless imagination, Lagan Gandhar (‘Full Ga Concentration’) is distinguished by taking a ‘triple-Ga’ – with an additional ‘quarter-tone’ sruti lying roughly halfway between the komal and shuddha shades (‘komalaa gandhar’: notated below as ‘g̃’). This strange tone-trio is often navigated in adjacent manner, with slow glides serving to highlight the subtle pitch-differences between each position (e.g. G\g̃\g). While the rest of the swara-set lies close to Shivranjani and Bhupali, it follows its own distinct phraseologies (sometimes even mirroring Ga’s mid-sruti interplay around the Ni zone, e.g. here). As per Parrikar, “a connoisseur‘s delight…the raga was very dear to [Gandharva]…The haunting feeling originates from the uncertainty imparted to Ga”. Few besides its creator – and his wife Vasundhara Tai – have attempted to tackle the raga in earnest (see renditions by vocalist Milap Rane and bansuriya Ronu Majumdar, plus a bandish breakdown by Swaroop Sardeshmukh). The Hindu’s coverage of Gandharva’s Apr 2023 centenary concert notes that “day two began with Kalapini Komkali’s Lagan Gandhar, a unique raga created by her father…adding a personal dimension to [its] vitality…Kalapini presented two compositions in this challenging raga [Sudha Na Rahi Mohe & Baje Re Mora]”. Also see Gandharva’s Madhusurja, inspired by the impending doom of a sacrificial goat.

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—Kumar Gandharva (1968)—

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[refrain, e.g. 0:32] S, G\g̃\g, R(gR) R(S)S, (GR)G, G G(RS)S, SG(RS)S, S\DS, S\D(SD), SG G\g̃\g R(S) (GR)G, SG(RS), SG(RS), S\D, DS, SR(S), RR(gRgRgRS), DS\D, S G\g̃\g R(S) (GR)G, G G(RS)S…

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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: (none found)

–Swara Geometries–

(sadly my database can’t yet handle quarter-tones: so the ‘triple Ga’ is treated as a double)

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• Core form: S–R–gG–P–D–S

• Reverse: SgmdDnS

• Negative: 2-4-1-2-2-1 (e.g. Kameshwari)

• Imperfect: 2 (ga, Ga)

• Detached: 1 (ga)

• Symmetries: none

• Murchanas: Marwa (on ga)

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• Quirks: ‘triple-Ga’ (~quarter-tonal)

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–Global Translations–

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• Carnatic: (~Mishrashivaranjani)

S-R₂-G₂-G₃-P-D₂-S

• Jazz: Major Pentatonic (dbl. 3rd)

1-2-b3-3-5-6-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-7-9-0

(2–1–1–3–2–3)

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o • o o o • • o • o • • o

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• Tanpura: Sa–Pa

• Names: Lagan Gandhar

—Swaroop Sardeshmukh (2022)—