S-R-m-P-D-S

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Perhaps the oldest surviving Malhar raga (‘shuddha’, as well as referring to ‘pure’ or ‘unaltered’ specific swaras, may also indicate a ‘primary’ or ‘original’ quality: as with the similarly-ancient Shuddha Basant), marked by “a ponderous gait and a meend-rich contour”. As per the accompanying notes to a K.G. Ginde lecture-demo, Shuddha Malhar is distinguished from its prakritis Durga and Jaldhar Kedar through the ucharana of its m(m)R; (m)RP kernel, as well as uttarang motions of mP(S)DS, SDPm (although Ginde considers all three ragas to share a ma–Sa vadi–samvadi, plus Pa as a further nyas). Also refer to Lalith J. Rao’s energetic demo performance and a summary of insights gleaned from lakshanagranthas – and compare to other ancient Malhars including Gaud Malhar, Arun Malhar, and Ramdasi Malhar.

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• Raga Megalist (365+) •

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SRm, PDS

Avroh: SDP, mRS

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Chalan: signatures e.g. SRm; mR; (m)RP; mPDS; (DP)m; mR; (m)RPRm; RS (Ginde)

—Lalith J. Rao (1994)—

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[refrain, e.g. 0:36] m\RR PP S\DD (D)SRS, SDP, m\RR PP S\DD (D)SRS…

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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: Durga, Jaldhar Kedar

–Swara Geometries–

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• Core form: S–R–m–P–D–S

• Reverse: SgmPnS (=Dhani)

• Negative: 2-2-1-2-2-2-1 (e.g. Bilawal)

• Imperfect: 1 (Dha)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: Bhupali set

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• Quirks: ‘atritonal‘ (no available tritones) • ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Suddha Saveri

S-R₂-M₁-P-D₂-S

• Jazz: Ritusen Pentatonic

1-2-4-5-6-8

• Pitch classes (‘fret-jumps’):

0-2-5-7-9-0

(2–3–2–2–3)

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o • o • • o • o • o • • o

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• Tanpura: Sa–Pa

• Names: Shuddha Malhar, Suddha Malhara

—Bismillah Khan (~1990s)—