S-R-g-M-P-d-N-S

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Borrowed from a South Indian ragam (melakarta scale #57), Simhendra Madhyamam takes the form of a ‘Kirwani tivra Ma’, ‘Todi shuddha re’, or ‘Madhuvanti komal dha’. Despite the popularity of its Carnatic congruent (hailed by Charulatha Mani as “regal, meditative, bold, and striking”), the raga remains relatively rare in the North – with its phraseological guidelines left correspondingly uncodified (although Re assumes prominence as a nyas in most recordings). Also featured in my ‘expanded thaat list’ of 32 sampurna scales – and known as the ‘Hungarian Minor’ on Western classical curriculums due to its use in multiple folk traditions of Europe and the Mediterranean.

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—Ravi Shankar (1956)—

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[gat, e.g. 6:58] (P)Md S, (S)NS (S)dP; MP gRS, RRS NSRgMP…

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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: Thaat #7

–Swara Geometries–

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• Core form: S–R–g–M–P–d–N–S

• Reverse: SrGmMDnS (=Ahir Lalit)

• Negative: 3-3-1-4-1 (e.g. Bibhas)

• Imperfect: 3 (Re, ga, Ma)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: Bhairav set

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• Quirks: ‘centred‘ (constellation balances at the wheel’s centrepoint)

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–Global Translations–

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• Carnatic: Simhendramadhyamam

S-R₂-G₂-M₂-P-D₁-N₃-S

• Jazz: Hungarian Minor

1-2-b3-#4-5-b6-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-6-7-8-11-0

(2–1–3–1–1–3–1)

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o • o o • • o o o • • o o

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• Tanpura: Sa–Pa

• Names: Simhendra Madhyamam, Simhendramadhyamama, Sumadhyuti (archaic)

—Ravi Shankar (1985)—