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

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More of an umbrella term for assorted ‘sampurna-modified Malkauns’ renditions than a specific form (i.e. with Re and Pa added, thus completing the sapta swara). As per Deepak Raja: “Amongst the various manifestations of the concept, the most celebrated is that of Kesarbai Kerkar…[which] uses 9 swaras [SRgGmPdDnS] instead of the minimum 7. Its inventory of phrases is drawn explicitly from Malkauns, Bageshri, & Kafi”. Kerkar’s fellow Jaipur-Atrauli vocalist Mogubai Kurdikar’s interpretations follow along relatively simpler lines, matching Malkauns’ audav aroha with the seven swaras of Asavari thaat on the way down. Also see Kaunsi Kanada (a form of ‘Sampurna Malkauns’), as well as Pancham Malkauns.

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Aroha: e.g. dnSmg, mdnSd, nRS

Avroh: e.g. gSnSd, mdndm, PmggnRS

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Chalan: e.g. S(n)d; SnS; dnS; (m)g; (n)SRS; Sgm(N)dndmg; mPmg; nRS; SndmgmP; mgSRS (Sharma)

—Kishori Amonkar (1991)—

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[bandish, e.g. 0:50] g(m)P Pm, P, (P)m, (m)g R, (n)SgR g, (g)m g/m(g) g\S, S(gSnS)n\d n, nS(nS)m, mm(P)m P(mPm) m\g, gmPn\d (S)n (n)S, S, d(SnRSnSn) n\d, P, m\g, SgmP m(Pm) g(mg) R(mg) m\g g(R)S/m mm(g), g(m)P Pm, P…

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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: Asavari thaat, Asavari (shuddha Re), Darbari, Kaunsi Kanada, Jaunpuri, Adana

–Swara Geometries–

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• Core form: S–R–g–m–P–d–n–S

• Reverse: SRGmPDnS (=Khamaj)

• Negative: 2-3-2-3-2 (e.g. Megh)

• Imperfect: 1 (Re)

• Detached: none

• Symmetries: mirror (m—N)

• 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: ~Natabhairavi

S-R₂-G₂-M₁-P-D₁-N₂-S

• Jazz: Natural Minor / Aeolian

1-2-b3-4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-8-10-0

(2–1–2–2–1–2–2)

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o • o o • o • o o • o • o

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• Tanpura: Sa–ma

• Names: Sampurna Malkauns, Malkos Sampurna, (~Kaunsi Kanada)

—Mogubai Kurdikar (1963)—