S-R-g-M-P-D-nN-S

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A captivating offshoot of Madhuvanti, named ‘Tanseni’ for its use of a Miyan ki Malhar-flavoured double-Ni sangati. Associated with the Rampur sarangi tradition, most prominently Hamid & Zahid Khan – as per the liner notes to Hamid’s ektal rendition: “it also resembles Multani…it is of Kafi parentage, with accents on Sa & Ma”. Thus far, this LP is the only rendition of theirs I can definitively trace (and I’m still not sure when it was released: although given Madhuvanti’s recent origins, first appearing around the 1940s, it could be that they devised their own ‘Tanseni’ variant soon afterwards). Bhimsen Joshi also sung some form of ‘Madhuvanti + Malharic nDNS‘ at a 1980 Pune concert, also titled ‘Tanseni Madhuvanti’ (Kahe Maan Karo) – although it is unclear whether this shares any direct links to the Khans’ interpretation above. Furthermore, several other ragas have also taken up the general ‘Madhuvanti + Malhar’ concept, such as Abhirang’s Madhu Malhar and Ali Akbar Khan’s Madhu Malati (Ni up, ni down) – with other ultra-rare prakritis to the SRgMPDnNS swara-set including Tukhari, Adbhut Ranjani, Saraswati Ranjani, and Vidyapati Kalyan. Ripe for resurrection!

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राग तानसेन मधुवंती

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Aroha: SRgMPDNS

Avroh: SNnDPMgRS

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Chalan: e.g. SNS; PNS; SNnDP; PNS(M)g; (S)RS; SgMg; Mg(S)RS; S; SgMg; gMP; MPMg; gMPnDP; PNnDP; MP; (g)Mg; (S)RS; SgMP; gMPN; NS; NgRS: RS: PDNS: nDP; SNnDP; MDP; Mg; Mg(S)RS (OoR)

—Bhimsen Joshi (1980)—

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[refrain, e.g. 3:04] (M)DP M\g (gR)S M, MPP, (M)DP M\g (R)S M(g), (MPM)DP M\g (gR)S M(g), MP…

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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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

–Swara Geometries–

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• Core form: S–R–g–M–P–D–nN–S

• Reverse: SrRgmMDnS

• Negative: 5-3-1-3

• Imperfect: 3 (Ma, Dha, ni)

• Detached: none

• Symmetries: mirror (Gm—nN)

• Murchanas: Virat Bhairav (on Re)

–Global Translations–

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• Carnatic: (~Dharmavati)

S-R₂-G₂-M₂-P-D₂-N₂-N₃-S

• Jazz: Lydian b3 (dbl. 7th)

1-2-b3-#4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-6-7-9-10-11-0

(2–1–3–1–2–1–1–1)

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o • o o • • o o • o o o o

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• Tanpura: Sa–Pa

• Names: Tanseni Madhuvanti, Tan Seni Madhowanti, (~Madhu/Madhuvanti Malhar)

• Transliterations: Hindi (तानसेन मधुवंती)

—Hamid Khan (~1980s)—