S-R-G-mM-P-D-nN-S
Literally ‘Pilu from Pa’: i.e. a murchana rotation of Pilu so that Pa becomes the ‘new Sa’. Pilu’s doubled gG–nN swaras, being separated by a Perfect 5th, are thus transformed into Pancham se Pilu’s nN–mM (meaning the murchana’s main effect is essentially to trade Pilu’s gG for mM). This switch paves the way for shades of Yaman, Vachaspati, Khamaj, Nat Bihag, and other allied ragas, assisted by Pilu’s existing flexibility. Seemingly devised by Vilayat Khan.
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—Vilayat Khan (1958)—
[Swaras]
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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: Exact | 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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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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