• Raag Malavi •


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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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 | 32Enclosed | 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: SrGMPDS
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)
Jazz: Lydian b2 (no 7th)
Pitch classes (‘fret-jumps’):

o o • • o • o o • o • • o


• Tanpura: Sa–Pa
• Names: Malavi, Malvi, Malava


—Kumar Gandharva (~1970s)—



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An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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