S-r-G-M-P-D-S

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An enchanting sandhiprakash raga, which has different melodic characteristics depending on the time of day. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar describes the ‘morning form’ as “a complex raga combining Hindol [SGMDS] and shuddha Dha Bibhas [SrG, rS, PGPDPGr, SrGPDP]…you might also find a glimpse of Deshkar [SDSPD, PDSDP]” – whereas she places the ‘evening form’ closer to Shree (“There are several varieties of Poorvi thaat Malavi: most are based on Shree, but this particular [performance] is based on Puriya Dhanashree [GrS, (P)MDS, NrS, rNdP, MDNrNDP, GrSNrG, GrS] with some additional phrases [GGPG, PGrS, PGGP; Pdm, mPG, PdPmmPG; NmPG; rNNPGGP]”. Both incarnations are generally considered to be uttarang-focused, although interpretations display considerable variance across other features: refer to morning renditions by Kumar Gandharva and Mallikarjun Mansur, and an evening take by Nivrutti Bua Sarnaik. Not to be confused with the Carnatic raga of the same name.

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Aroha: SrGP, rGMdS

Avroh: SNPMG, rGrS

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Chalan: ‘morning form’ e.g. SrrSS; GPGrS; SrS; rGrPMG; rGrS; SGPM; rMGrS; rGP; MGr; GrS (Sharma)

—Manjiri Asnare-Kelkar (2020)—

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[refrain, e.g. 1:08] SS(NS)G, (SGMG)M/ND (DND)S, SS, D(ND) S(D)SS, (rS)r r(Sr)S, S(NSD) S(NS)M S(D), D/S(DPDMP)G P(MPD)P P\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: (none found)

–Swara Geometries–

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• Core form: S–r–G–M–P–D–S

• Reverse: SgmMdNS

• Negative: 3-1-2-3-2-1

• Imperfect: 3 (re, Ga, Pa)

• Detached: none

• Symmetries: mirror (Sr—MP)

• Murchanas: Milan Gandhar (on Dha)

–Global Translations–

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• Carnatic: (~Gamakakriya)

S-R₁-G₃-M₂-P-D₂-S

• Jazz: Lydian b2 (no 7th)

1-b2-3-#4-5-6-8

• Pitch classes (‘fret-jumps’):

0-1-4-6-7-9-0

(1–3–2–1–2–3)

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o o • • o • o o • o • • o

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• Tanpura: Sa–Pa

• Names: Malavi, Malvi, Malava

—Kumar Gandharva (~1970s)—