S-r-G-M-P-D-S
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.
• Raga Megalist (365+) •
Search | Glossary | Tags
• Hindustani Raga Index •
Aroha: SrGP, rGMdS
Avroh: SNPMG, rGrS
Chalan: ‘morning form’ e.g. SrrSS; GPGrS; SrS; rGrPMG; rGrS; SGPM; rMGrS; rGP; MGr; GrS (Sharma)
—Manjiri Asnare-Kelkar (2020)—
[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…
• 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)
–Swara Geometries–
• 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–
• 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)
o o • • o • o o • o • • o
• Tanpura: Sa–Pa
• Names: Malavi, Malvi, Malava
—Kumar Gandharva (~1970s)—