S-R-gG-m-P-D-n-S

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An enchanting blend of three night ragas: Bageshri, Rageshri, and Malgunji. Bageshri, evident via a strong ma–Sa sangati and the skipping of Pa in ascent, combines with Rageshri to present a double-Ga – with more extended melodic developments often following in the manner of Malgunji. Seemingly the exclusive preserve of vocalists, although it remains rare on the concert circuit: refer to a crystal-clear rendition by Fareed Hassan, as well as endearingly scratchy takes from Chand Khan and Iqbal Ahmed Khan – and also see prakriti forms including Neelambari and Rageshri Kanada. Not to be confused with Lankeshri Kanada (although mistitlings are common).

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—Fareed Hassan (2020)—

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[refrain, e.g. 5:13] (Sg)R RS nDn S/G, (S)GG (mG)m (RS)R S, S/g RS nD (S)n S(mGPmGm)G, (S)GG (mG)m (RS)R S, S/g RS nD (S)n S(mGPmGmG)G, (S)GG (mG)m (RS)R S, S/g RS nD…

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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: Malgunji, Bheem, Rageshri Kanada, Neelambari

–Swara Geometries–

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• Core form: S–R–gG–m–P–D–n–S

• Reverse: SRgmPdDnS

• Negative: 2-5-2-3

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (gG—Dn)

• Murchanas: Bihag set

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

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–Global Translations–

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• Carnatic: (~Dwijaivanthi)

S-R₂-G₂-G₃-M₁-P-D₂-N₂-S

• Jazz: Bebop Dorian (dbl. 3rd)

1-2-b3-3-4-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-5-7-9-10-0

(2–1–1–1-2–2–1–2)

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o • o o o o • o • o o • o

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• Tanpura: Sa–Pa

• Names: Lankeshwari, Lankeshwaree (not Lankeshri / Lankeshri Kanada)

—Chand Khan (~1960s)—