S-R-G-m-P-D-n-S

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An intriguing experiment in drawing direct inspiration from the distant past, Sameshwari is a creation of musicologist and vichtra veena maestro Lalmani Misra, inspired by his study of ancient Vedic chant practices. As explained by his daughter Ragini Trivedi, “Sameshwari is an attempt to preserve the notes used in Sāmgana [Vedic hymn singing]…Sāmik chanters [originally] used three notes, but singers explored further and discovered more, with mGRSD [as] the basic set”. This sequence is then mirrored in uttarang as SnDPG, producing a Khamaj-congruent scale of SRGmPDnS – with Trivedi listing a Pa–Sa vadi–samvadi (“you will come across greater thaharav [stability] on Pancham, and you will enjoy staying on it”), and recommending that Re and ma are treated as “passing notes, which should be touched without staying, they are not to be used while ascending”. Compare to Kalavati (which matches the SGPDnS aroha) and Rageshri (which similarly uses DnSGmRS as a conclusion phrase) – and to learn more about the life and music of Lalmani Misra, read a brief bio from Omenad (“His creative works were in several directions: one can only marvel at his orchestral compositions, and in 1961 he composed and presented an opera, Meera Bai…It was his keen interest and visionary attitude that has made B.H.U. a center for the study of ancient Samic studies…”).

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• Raga Megalist (365+) •

राग सामेश्वरी

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• Hindustani Raga Index •

Aroha: SGP, GPDnD, DnS

Avroh: SnDnDP, GPDGP, GmRnS

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Chalan: signatures – e.g. SGP, GPDnD, DnPDP, GPSnDnDP, GGP, PDGP, GmRnS [Trivedi]

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—Ragini Trivedi (2018)—

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[jor, e.g. 9:24] SGP, PPGGR, GGRSn DnDPG, G(P), GPGPDn(SnD), PD PnS, S; SGPD(nD) D(nDP) D(nD)P GP(DnDPG), G(m)RS n(D)S…

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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: Khamaj thaat, Khamaj, Jhinjhoti, Kambhoji, Khambavati, Sakh, Gaoti

–Swara Geometries–

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• Core form: S–R–G–m–P–D–n–S

• Reverse: SRgmPdnS (=Darbari)

• Negative: 2-2-3-2-3 (e.g. Bhupali)

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: Bilawal set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Harikhamboji

S-R₂-G₃-M₁-P-D₂-N₂-S

• Jazz: Mixolydian

1-2-3-4-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-7-9-10-0

(2–2–1–2–2–1–2)

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o • o • o o • o • o o • o

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• Tanpura: Sa–Pa

• Names: Sameshwari

• Transliterations: Hindi (सामेश्वरी)

—Ragini Trivedi (2018)—

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“Despite pain and debility, [Lalmani Misra’s] mind always retained its lucidity. Talking to his disciples Laxmi Ganesh Tewari & Om Prakash Chourasiya, son Gopal Shankar, daughter Ragini and others, he spoke at length on why he created Sameshwari. The Hindi lecture is almost 40 minutes long. An abstract of the transcript is given here…” (Omenand)

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