S-R-m-P-d-S

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A rare ‘audav Asavari’ raga, matching the swaras of ‘komal Dha Durga’ (or ‘shuddha Re Gunakri‘). While relatively free of specific melodic constraints, the dha assumes natural prominence due to its disbalancing effects: it is involved in the only hemitonic pairing (Pd) and also the widest adjacent jump (dS), while serving as the only detached swara. (n.b. a similar focus can also be observed in other members of the Shivranjani murchana set, e.g. the strength of re in Bairagi and ga in Shivranjani itself). Aslam Khan’s rendition features a komal ga vivadi, while Ronu Majumdar‘s bansuri enchants with rapid movements which traverse the scale’s uneven geometries over the full saptak range. Also refer to a vivid tale from the invaluable RICMP channel: “My first teacher learnt music from multiple Ustads, including Aman Ali Khan of the Bhendibazaar gharana. He taught me numerous rare ragas, taals, and bandishes…However, he was an alcoholic, and often used to get severely intoxicated. Once, he attempted to commit suicide by drowning in the sea. After recovering, he came to my house to continue my training, while I was alone at home. It was evening twilight, and I was experiencing a strange feeling due to the silence. On that day, he taught me Shobhawari: I cannot forget the intensity of his performance…”.

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राग शोभावरी

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• Hindustani Raga Index •

Aroha: SRmPdS

Avroh: SdPmRS

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Pakad: variable, e.g. mPSdPd; RSdPd

Chalan: (open-form)

—Aslam Khan (~2000s)—

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[bandish, e.g. 1:18] RSd(Pd) SR, (RSR)S, d/S S(dSd)R, m\R m\R (RSR)S S; SRm(Pm) (m)P P, mPS(dSd)S S, (dSdS)R R(SR)S, (dS)d, (Pd)P, (mP)m, (RS)R S;  RSd(Pd) SR, (RSR)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

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

Also see other ragas matching the generic swaras ‘Sa-Re-Ma-Pa-Dha‘

–Swara Geometries–

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• Core form: S–R–m–P–d–S

• Reverse: SGmPnS

• Complement: SrgGMDnNS

• Imperfect: 2 (Re, dha)

• Detached: 1 (dha)

• Symmetries: none

• Murchanas: Shivranjani set

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• Quirks: ‘jagged‘ (no ‘adjacent interval repetitions’)

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–Global Translations–

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• Carnatic: ~Sutradhari

S-R₂-M₁-P-D₁-S

• Jazz: Aeolian (no 3rd/7th)

1-2-4-5-b6-8

• Pitch classes (‘fret-jumps’):

0-2-5-7-8-0

(2–3–2–1–4)

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o • o • • o • o o • • • o

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• Tanpura: Sa–Pa

• Names: Shobhawari, Shobhavari, Shobwari, Shobha Vari

• Transliterations: Hindi (शोभावरी)

—Ronu Majumdar (1987)—