S-r-G-mM-D-N-S

---

A rare springtime raga, summarised in Narayanrao Patwardhan’s 1964 Raga Vigyan as a fusion of Puriya, Basant, Sohini, & Hindol (see chalan phrases below) – although Deepak Raja recounts a conversation with Ulhas Kashalkar, who states that “there is no Hindol in it…the raga has shades of Puriya and Sohini as well as Basant…Mainly [sung] in the Agra gharana, it is actually an old version of Basant…[formerly] known as ‘Mandir Basant’…” (hear Kashalkar’s Puriya-tilted take below). Raja adds that “Malti Basant may have evolved as a variant of…Shuddha Basant or Adi Basant”, suggesting a pre-khayal origin, giving a Dha–Ga vadi–samvadi. Also refer to a rendition by Sharafat Hussain (“a free amalgam of Marwa, Puriya and Sohini, [with] a touch of Basant or Lalit”) – as well as the prakriti Lalita Sohini.

---

• Raga Megalist (365+) •

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SNrS, SG, mDS

Avroh: SNrND, MG, SmMmG, MGrS

---

Chalan: parent motifs e.g. MGMGrS (Basant); MGrS, rSN (Puriya); SDNMD (Hindol); SNrND (Sohini) (Raja)

—Ulhas Kashalkar (2015)—

---

[bandish, e.g. 1:44] S(NrN)S/M G(MGr)S, DN(S)ND, DNrS, S, S(rSNS) N(D), NrS, S(NS)m (MmMmG)G, SGM/N\DMG, (S)MGS, S(NrS)MG, S(NS) DN…

---

• 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: Lalita Sohini

–Swara Geometries–

---

• Core form: S–r–G–mM–D–N–S

• Reverse: SrgMPdNS (=Todi)

• Negative: 4-1-4-1-2 (e.g. Bhupali Todi)

• Imperfect: 2 (Sa, re)

• Detached: none

• Symmetries: none

• Murchanas: Basant set

---

• Quirks: ‘komal Pa‘ (=mMP)

---

–Global Translations–

---

• Carnatic: (~Kashiramakriya)

S-R₁-G₃-M₁-M₂-D₂-N₃-S

• Jazz: Lydian Chromatic

1-b2-3-4-#4-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-5-6-9-11-0

(1–3–1–1–3–2–1)

---

o o • • o o o • • o • o o

---

• Tanpura: Sa–ma (+Dha)

• Names: Malti Basant, Malati Vasant, ‘Mandir Basant’ (archaic)

—Ghulam Taqi Khan (~1980s)—