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 remain anchored in the pentatonic swara set of SrmPDS (akin to ‘Gunakri shuddha Dha’), with different incarnations employing shuddha Ga and Ni to – also noting that the raga may be of recent origin given its absence in Bhatkhande’s works. Also listen to a great rendition by Ashiwni Bhide-Deshpande (sent in my Keval Modha) – and see the prakriti Bhatiyari Bhairav and Dakshinatya Basant, as well as other ‘expanded thaat’ ragas (i.e. all 32 sampurna scales with exactly 7 swaras).
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राग मंगल भैरव
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—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
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: Thaat #18, Bhatiyari Bhairav, Dakshinatya Basant
Also compare to other members of the Bhairav raganga
–Swara Geometries–
• Core form: S–r–G–m–P–D–N–S
• Reverse: SrgmPdNS (=Ardhanarishvara)
• Complement: SRgMdnS
• Imperfect: 3 (re, Pa, Ni)
• Detached: 1 (re)
• Symmetries: none
• Murchanas: Latangi (on ma)
–Global Translations–
• Carnatic: ~Suryakantam (mela #17)
S-R1-G3-M1-P-D2-N3-S
• Jazz: Ionian b2
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
• Tanpura: Sa–ma
• 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!
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