S-R-G-mM-P-D-N-S

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Taking the general form of ‘Yaman Kalyan seasoned with Bihag’, Sanjh Saravali (‘Evening Melody’) was devised by Vilayat Khan in the late 1970s. Fellow Imdadkhani sitarist Deepak Raja, aided by input from Vilayat himself, describes the raga as “incorporating fleeting impressions of several [Kalyan] ragas, including Nand Kalyan and Chayanat…its melodic identity rests on hide-and-seek between several allied ragas” (see avirbhav/tirobhav) – revolving around an alternation between “Yaman Kalyan in the lower octave and lower tetrachord [PMGmRG]…and phrases from Bihag [NDNSN] in uttarang”, amidst a “nondescript treatment of the two Ma swaras”. Raja adds that “the Ustad described it as a ‘beautiful [melody] which had composed itself’…Sanjh Saravali evokes a combination of the tranquil and the solemn. There might be a hint of the romantic, but it is a stoic romanticism, devoid of any vivacity…”). Since recorded by Ulhas Kashalkar and Baljit Singh (on the tar shehnai). Also see other Vilayat creations including Pancham se Pilu (a murchana of the parent raga) and Enayetkhani Kanada (initially named after himself, then retitled in honour of his father).

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राग सांझ सारावली

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—Vilayat Khan (2000)—

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[gat, e.g. 0:34] (G)P, (P)G, (G)R G, G(m)G, (RN)S, N R G M, M(DP) G, S, N, NS, N(Sn)DP, DP, PD(NS), (G)P, (P)G…

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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: Bihag, Nand, Hameer, Kamod, Maru Bihag, Pat Bihag, Chayanat, Gaud Sarang, Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan

–Proximate Forms–

Bilawal = ‘Sanjh Sarav. only ma‘

Yaman = ‘Sanjh Sarav. only Ma‘

Bhankari = ‘Sanjh Sarav. komal re‘

Shankara = ‘Sanjh Sarav. no Ma‘

Chandni Kedar = ‘Sanjh Sarav. double Ni‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

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• Core form: S–R–G–mM–P–D–N–S

• Reverse: SrgmMPdnS

• Negative: 3-2-5-2

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Bihag set

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

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–Global Translations–

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• Carnatic: ~Behag

S-R₂-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydionian

1-2-3-4-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-6-7-9-11-0

(2–2–1–1–1–2–2–1)

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o • o • o o o o • o • o o

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• Tanpura: Sa–Pa

• Names: Sanjh Saravali, Saanjh Sarawali, Sanjhsaravali

• Transliterations: Hindi (सांझ सारावली)

—Baljit Singh (2018)—