S-R-m-P-D-S
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.
• Raga Megalist (365+) •
Search | Glossary | Tags
• Hindustani Raga Index •
Aroha: SRm, PDS
Avroh: SDP, mRS
Chalan: signatures e.g. SRm; mR; (m)RP; mPDS; (DP)m; mR; (m)RPRm; RS (Ginde)
—Lalith J. Rao (1994)—
[refrain, e.g. 0:36] m\RR PP S\DD (D)SRS, SDP, m\RR PP S\DD (D)SRS…
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
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.
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–
• 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
• Quirks: ‘atritonal‘ (no available tritones) • ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• 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)
o • o • • o • o • o • • o
• Tanpura: Sa–Pa
• Names: Shuddha Malhar, Suddha Malhara
—Bismillah Khan (~1990s)—