Mangal Bhairav | SrGmPDNS | Hindustani Raga Index

S-r-G-m-P-D-N-S

A ‘shuddha Dha Bhairav’ offshoot, which thus allows for Durga-like uttarang movements such as mPDS. Ronu Majumdar also touches on Bhupali (e.g. SDS SDPDS: gat transcribed below), placing these passages in contrast to Bhairav’s signature GrS conclusion phrase. Subbha Rao’s Raga Nidhi Vol.3 notes that the raga’s movements are anchored in the pentatonic swara set of SrmPDS (akin to ‘Gunakri shuddha Dha’), with different incarnations employing shuddha Ga and Ni to give a full form equating to ‘Bilawal komal re’ – also noting that the raga may be of recent origin given its absence in Bhatkhande’s works. Also see the prakriti Bhatiyari Bhairav and Dakshinatya Basant, as well as other ‘expanded thaat’ ragas (i.e. all 32 sampurna scales which have exactly 7 specific swaras).

—Ronu Majumdar (2013)—

[motifs, e.g. 11:11] S(D)S(D)S SDPDS; PDrrS(NS), (P)DrrS…

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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: Thaat #18, Bhatiyari Bhairav, Dakshinatya Basant

–Swara Geometries–

• Core form: S–r–G–m–P–D–N–S

• Reverse: SrgmPdNS (=’thaat #24‘)

• Negative: 4-1-4-2-2 (e.g. Devshri)

–Global Translations–

• Carnatic: ~Suryakantam (mela #17)

S-R₁-G₃-M₁-P-D₂-N₃-S

1-b2-3-4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-5-7-9-11-0

(1–3–1–2–2–2–1)

o o • • o o • o • o • o o

• Names: Mangal Bhairav

• Transliterations: Hindi (मंगल भैरव)

—Ashwini Bhide-Deshpande (2004)—

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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!