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

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Fashioned by Agra vocalist Jagannathbuwa Purohit ‘Gunidas’ (also the creator of Jogkauns and Jaun Bhairav), fusing material from Bhatiyar, Bihag, and Bhinna Shadja into an engrossing new whole. Bhatiyar forms the main base, with its phrases being reworked to match the swaras of Bilawal thaat (e.g. PGRS; SD NDP, PDPm), with Bhinna Shadja contributing phrases such as GmNDm; (N)DNSm, and Bihag appearing via GmPNS; GmG(R)S. Swarganga describes Swanandi as “a very serene, soothing melody…a complex, vakra structure”, also pointing towards Hemant and Nand for melodic similarities. Kept alive through the efforts of Gunidas’ students C.R. Vyas and Jitendra Abhiskehi, as well as others including Shivanand Patil and Vijay Koparkar. Also compare Hem Bihag, a creation of Allauddin Khan which blends similar source materials into a distinct set of moods.

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• Raga Megalist (365+) •

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—V.R. Athavale (1992)—

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[themes, e.g. 1:39] Gm, G(mGm)D\P, mG, (G)P\m m\G G; Gm/ND Pm(P)G, Gm/ND Pm(P)mG, (G)P\m m\G G\R, (N)S, N, N\D(ND), NS…

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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, Tilak Kamod, Nat, Hem Bihag, Bihari, Savani, Gagan Vihang, Maluha, Mand, Chaya Malhar, Hemant, Manjari Bihag

–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’)

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–Global Translations–

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• Carnatic: ~Sankarabharanam

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: Swanandi

—Shivanand Patil (~1980s)—