S-g-m-P-d-n-S

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A loose collection of melodic strands which fall under the general banner of ‘Malkauns with Pa in avroh’ (thus sharing conceptual overlap with Kaunsi Kanada and Sampurna Malkauns). Ascents typically stay true to the pentatonic structure of Malkauns, and the Pa is usually rendered in vakra avroh lines (e.g. ndmgmdP or gmdndmP). Beloved by vocalists (notably including Amir Khan), and also performed in the Dagarvani rudra veena lineage under its older title of ‘Pancham Kosh’ (Dagar musicians reportedly connect the raga to the South Indian Hindolavasantham) – as well as being used as a ‘proximate contrast’ with Malkauns itself as part of riyaz exercises.

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—Dinkar Panshikar (2020)—

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[refrains, e.g. 0:54] S(m)gmd nSn, (n)dm gmgS; mP Pmg, nSnd(n), S(m)gmm, gmn\dn\d, nSS, nSgn\dd, ndP Pm, S(m)gmd nSn…

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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: Gopika Basant

–Swara Geometries–

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• Core form: S–g–m–P–d–n–S

• Reverse: SRGmPDS

• Negative: 2-1-2-2-3-2 (=itself)

• Imperfect: 1 (Pa)

• Detached: none

• Symmetries: mirror (rR—Pd)

• Murchanas: Shankara set

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• Quirks: ‘self-shadowing‘ (negative form=core form) • ‘atritonal‘ (no available tritones)

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–Global Translations–

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• Carnatic: ~Hindolavasantham

S-G₂-M₁-P-D₁-N₂-S

• Jazz: Aeolian (no 2nd)

1-b3-4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-3-5-7-8-10-0

(3–2–2–1–2–2)

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o • • o • o • o o • o • o

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• Tanpura: Sa–ma (+Pa)

• Names: Pancham Malkauns, Malkauns Pancham, Pancham Kosh

—Zia Mohiuddin Dagar (1984)—