S-r-g-M-d-n-S

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A strange shadav scale matching the swara set of ‘Gujiri Todi komal ni’ or ‘Meladalan minus shuddha ma’. Its structure presents a unique combination of geometric quirks: Sa is ‘detached’ (=Pa and ma are both varjit), and all other swara positions are vikrit (rgdn: komal, M: tivra) – leaving the ultra-rare ‘tivra Ma, no Pa, komal ni’ sangati on stark display. Abhirang’s pair of renditions feature strident mid-scale ornaments such as (gM)g; M(dM); (gMdM)d and emphatic upward resolutions towards dha (transcribed below: at points, the scale’s assorted instabilities tempt my ears towards a dha-murchana, giving the more stable SRGmPnS). Abhirang states that “I learnt this raga from Ramrang-ji’s book” – with Rajan Parrikar, one of Ramrang’s students, noting that “the chalan echoes Gujiri Todi: dha and ga are very strong, and re commands respect too. There is no nyas on ni, but its presence is easily sensed” (also adding that “Mangal Gujari will present some pain and discomfort to the unexposed Hindustani mind…”). More recently recorded by and Chris Stephens using an ingenious sitar tuning, adapted to the scale’s lack of consonances from Sa. Also see Firozkhani Todi (the same scale minus ni) and Komal Ramkali (the same sequence plus Pa), as well as the congruent Carnatic Bhavani (n.b. not the same as the Northern ‘chatuswari‘ Bhavani).

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राग मंगल गुर्जरी

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Aroha: SrgMdnS

Avroh: SndMgrS

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Chalan: e.g. S; (S)nr; (g)rg; r; S; Srgmd; mdn(n)d; (d)mgr; rgr; S; Sd; md(d)S; S(n)d; nmd; rg; rS (Ramrang/Parrikar)

—Abhirang (2014)—

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[refrain, e.g. 2:02] (gM)g M(dM) (gMdM)d d(MdMdnd), Sgd\M(dM) M(dM) M\g, M(grg)r r(gMrg)rS S, (SrgMdM)d g(rgS), (MgM)g M(dM) (ndn)d…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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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.

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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)

Also see other shadav ragas which omit Pa

–Swara Geometries–

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• Core form: S–r–g–M–d–n–S

• Reverse: SRGMDNS (=Raj Kalyan)

• Negative: 3-2-1-2-2-2 (e.g. Jansammohini)

• Imperfect: 2 (Sa, ni)

• Detached: 1 (Sa)

• Symmetries: none

• Murchanas: none

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• Quirks: ‘detached Sa‘ • ‘tivra Ma, komal ni‘ (rarest pairing)

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–Global Translations–

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• Carnatic: ~Bhavani

S-R₁-G₂-M₂-D₁-N₂-S

• Jazz: Phrygian #4 (no 5th)

1-b2-b3-#4-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-3-6-8-10-0

(1–2–3–2–2–2)

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o o • o • • o • o • o • o

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• Tanpura: Sa–dha

• Names: Mangal Gujari, Mangal Gujiri, Mangal Gurjari

• Transliterations: Hindi (मंगल गुर्जरी); Odia (ମଙ୍ଗଳ ଗୁଜ୍ଜରୀ)

—Abhirang (2020)—