S-R-G-m-P-D-N-S

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An evening raga, which, despite its regular titling of ‘Savani Kalyan’, usually lies closer to Bihag than the Kalyan family – chiefly via avoiding tivra Ma, and giving greater strength to the Sa–Pa sangati. In the raga’s main incarnation, Dha and Ni are often rendered durbal, and may be skipped via PSP turnarounds (although Jaipur-Atrauli singers give Dha a role in runs such as GmD, DmPG) – however Moutal documents several alternate forms which draw more from the Kalyan-ang: including ‘Shuddha Kalyan + Nat’ (“mentioned by R. Vaze, but unexplained and probably obsolete”), ‘Shuddha Kalyan + Bihag’ (“chalan PmG; RS; GmGm; PGm; GRS; NDP; PNS”), and ‘Shuddha Kalyan + SmGm and a nyas on Dha’ (“given by Bhatkhande [and] performed during the first prahar of night…in this type, the Bihag element is reduced to the maximum”). Parrikar, highlighting the role of the mPG cluster, recommends four Bihag-ang renditions (all in jhaptal): by Ramrang (Deva Mahadeva), Kumar Gandharva (Jaane Akala Saba), Mogubai Kurdikar (Deva Deva Satsanga), and Mallikarjun Mansur (accompanied by his wife Gangamma). Also see other Bihag-proximate forms including Bihagda, Bihagara, Nat Bihag, Pat Bihag, and Manjari Bihag.

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—Narayanrao Bodas (2016)—

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[refrain, e.g. 3:16] Gm(G)P mP G (R)S, (SN)S S(NRS) S, R\N S, G m G, G(mGPmG)m P/S(NRSN)S, S\P P\G, Gm/D mP(G), G (Gm)P (m)P G (R)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: Bilawal thaat, Bilawal, Bihari, Tilak Kamod, Nat, Hem Bihag, Swanandi, Gagan Vihang, Maluha, Mand, Chaya Malhar, Hemant, Loom, Manjari Bihag

–Proximate Forms–

Khamaj = ‘Savani komal ni‘

Patdeep = ‘Savani komal ga‘

Yaman = ‘Savani tivra Ma‘

Bihag = ‘Savani double Ma‘

Nat Bhairav = ‘Savani komal dha‘

Bhatiyari Bhairav = ‘Savani komal re‘

(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–m–P–D–N–S

• Reverse: SrgmPdnS (=Bhairavi)

• Negative: 3-2-3-2-2 (e.g. Malkauns)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (R—d)

• Murchanas: Bilawal set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’) • ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

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–Global Translations–

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• Carnatic: ~Sankarabharanam (mela #29)

S-R₂-G₃-M₁-P-D₂-N₃-S

• Jazz: Major / Ionian

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

• Pitch classes (‘fret-jumps’):

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

(2–2–1–2–2–2–1)

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o • o • o o • o • o • o o

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• Tanpura: Sa–Pa

• Names: Savani, Savini

• Transliterations: Hindi (सावनी)

—Mallikarjun Mansur (1992)—