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’s demo lesson describes its ‘morning form’ as “a complex raga combining Hindol and shuddha Dha Bibhas…you might also find a glimpse of Deshkar” – 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 with some additional phrases”). Both incarnations are generally considered to be uttarang-focused, although interpretations display considerable variance in other ways: for example refer to morning renditions by Kumar Gandharva and Mallikarjun Mansur, and an evening take by Nivrutti Bua Sarnaik. Malavi’s SrGMPDS ‘morning’ form is the currently the only scale in the entire Raga Index to possess mirror symmetry of the Sr-MP axis. Not to be confused with the Carnatic raga of the same name.

---

• Raga Masterlist (1000+) •

राग मालवी

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)

—Mallikarjun Mansur (~1970s)—

---

[refrain, e.g. 7:54] (P)D P P\G, G, S(G)SP P (P)G, GP(G)D D D S(DPD)S, r(S)rS (S)D S(DS)D, D(M)P, (P)D P P\G…

---

• More •

Histories, melodies, mythologies, etc…

---

—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson pair, covering her tradition’s ‘morning’ and ‘evening’ (Poorvi-thaat) incarnations of the raga (from Amodini: The Joy of Rare Ragas):

 

“Today, I will talk about the ‘morning’ Raag Malavi. As this is a complex raga, I will begin with the bandish: SG, G(D)M M(S)D, D(SD)S, DP(MP)G, (PD)P PG, G(DM)G rS, SrS, SSG, G(D)M M(S)D, D(MD)S, SS S(D) S(D)SS, (rS)r (r)S, S(DS)D S(DS)M S(D), S D(PMP)G P(MD)PGG, G(D)M M(S)D, (D)SS SS, S(Nr)S SD SS, DS Sr S, SS(rSDS)D P(MP)G, GM(S)D S, SS S(D) S(D) SS, (rS)r (r)SS, S(NSrS)D S(D)M, SD, DS D(PMP)G P(MD)P, P(MP)G.

 

There are different types of Malavi, including versions sung in the morning and the evening – this is the morning one. Now we will see the combination: the main components are Hindol and Bibhas of Marwa thaat (‘Shuddha Dha Bibhas’). I will now demonstrate both these ragas:

• Hindol: SGM (S)DS DMG, S(M)GS, MDS S(S)DS MDS, DMG MGS
• Bibhas: SrG (G)rS, P(MP)G GPD PGr, SrGP, P(MP)D PG, (P)GPGr S, PP(S)D (SD)S, SrS, rSDSDPG, P(MD)PGr GPGrS
• Deshkar (a small glimpse in the uttarang): S(S)DS DP(MP)D, PDS D S(DPM)P

Now, we will see the full structure of Malavi (I will raise my thumb for Hindol, and my index finger for Bibhas): PPG, PDPGr rS, SSrS, (S)DS (D)M SrS, SrG rSP G, P(MD) (PDPM)PG rSrS, GM(S)DS, S(DS)D, MDS, SrS, SrGrS (S)D, S (PD)S P(MPM)D, DS SrS (D)MDS DMG, SG(D)M (S)DS DP(MDPM)PG, DPGrS; MG DM SDS, S (S)DSrS DSrG rS (S)DS S(DSD)M DS, SD(S) P(MP)G, SSr S(S)D, D(PMP)G, P(MDPM)P PG, GDMGr, SrGrS, MDS (S)D, DSrS, SrGrS (S)r (S)DS M(S)DS, D(PMD)P PG.

 

As I always say, the can be different versions of the same bandish. For this particular one, there is also another version, for example sung by Dhondutai Kulkarni. I will conclude with this bandish, set in jhaptal…”

 

—Malavi: morning (Amodini demo)—

---

“Namaskar, today I have come with Raag Malavi of Poorvi thaat. As this is a complex raga, I will begin with the bandish: P PG, PGrS S(Nr)S, P(dPMGMP)S (rN)rN, NP GGP, (G)dm mPG, GM NdNS, NrSdP P(MP), PdPm, (m)NmPG, PGrS, GMdS, SNrSdP, PP(dP)m, (m)NmPG, PGrS; P(dPMPGP)rN rNP, GGP.

 

There are different variants of Poorvi-thaat Malavi, [usually] based on Shree. But this one is based on Puriya Dhanashree, including its basic main phrases – although there are certain additional phrases which connect to this main phrase. First, the Puriya Dhanashree phrases: GrS, (PMP)M (N)dS, NrS, rNdP, MdNrN, NdP, GrS, NrG, GrS.

 

Now I will demonstrate the first connecting phrase: GGP (P)G, (G)PGrS, P GGP. And now the second, which includes shuddha ma: Pdm mPG, P(d)Pm, mPG. Other sangatis are also important here: N\mPG and rN NP GGP. These additional phrases are connected together with certain rules.

 

I will now demonstrate the overall structure: P GGP, GrS, NrS, Md(N)S NrS GrS, P GGP, d(P)m mPG, P P(dP)m mPG, PGrS; MdN, NdP, MdS, NrS, SNrGrS, NrNP GGP, MdNrNP, MdNmPG, Nm mPg d(P)m, mP, PG PGrS; P(Md)PNr NP GGP, PGr, MPGr, P GGP, P(d)P d(P)mG, PmdPNS NrNdP, rNP, GGP d(P)m mP, PGrS, SG, P GGP. I will conclude with the bandish I sang in the beginning, in rupak taal…”

—Malavi: evening (Amodini demo)—

---

Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

---

• 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

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

---

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

See all shadav ragas which omit Ni

–Swara Geometries–

---

• Core form: S–r–G–M–P–D–S

• Reverse: SgmMdNS

• Complement: SRgmdnNS

• 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

• Transliterations: Hindi (मालवी); Bengali (মালবী)

—Kumar Gandharva (~1970s)—