S-R-G-M-D-N-S

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A ‘Kalyan no Pa’ melody devised by Gwalior vocal innovator Vasantrao Deshpande (although he may well have seen it more like a ‘Marwa shuddha Re’). Parrikar describes how “the relief-inducing nyas on Pa is missing, giving a ‘restive’ persona”, while Ocean of Ragas gives a pakad of GmD, DmGR, NRS (also noting its congruence with Hindol Kalyan and Maru Kalyan, two ultra-rare ragas sung by Amir Khan). Generally treated as hexatonic in both ascent and descent, although some artists may render the Re as durbal on the way up – and debate contunues as to whether the vadi–samvadi are Ga–Ni (the ‘natural’ geometric choice) or Re–Dha (as per the Marwa-ang).

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—Vasantrao Deshpande (1975)—

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[refrain, e.g. 0:24] SN(D), NS N(D), N S S, N N(D) D(SD), (NR)N\D N(DS), S(RSNSND), R(GR)GRS, NRG(R)G(MRG)RS…

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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.

–Swara Geometries–

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• Core form: S-R-G-M-D-N-S

• Reverse: SrgMdnS (=Mangal Gujari)

• Inverse: ni; SgmPDnS (=none)

• Imperfect: 2 (Sa, Ma)

• Detached: 1 (Sa)

• Symmetries: none

• Murchanas: Jansammohini (on Re)

–Global Translations–

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• Carnatic: Mruganandana

S-R₂-G₃-M₂-D₂-N₃-S

• Jazz: Lydian (no 5th)

1-2-3-#4-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-6-9-11-0

(2–2–2–3–2–1)

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o • o • o • o • • o • o o

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• Tanpura: Sa–Pa

• Names: Raj Kalyan, Rajkalyan, Raja Kalyan, ‘Pancham virahit Kalyan’

—Rahul Deshpande (2008)—