S-r-G-P-d-N-S

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Taking a hexatonic ‘Shree/Bhairav no ma’ swara set, Triveni’s main incarnation (also known as ‘Tirban/Tirvan’) comprises two congruent swara-clusters – SrG & PdN (both semitonal jumps of ‘1-3’). Melodic motions mostly take after Shree and Bhairav, particularly via a strong re–Pa sangati and G\rS descents – both evident in Shounak Abhiskehi’s jhaptal bandish (Kalindi Saraswati, transcribed below: described in the liner notes as an “extremely difficult raga”). The basic scale shape is also describable as ‘Bibhas plus shuddha Ni‘ or ‘Din ki Puriya Pa-for-Ma‘. [n.b. Also note that the term ‘Triveni’ – which translates as ‘Confluence of Three Rivers’ – may also indicate the general concept of ‘combining three ragas’: see below for examples].

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—Shounak Abhisheki (2000)—

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[bandish, e.g. 3:27] rr, rGrSS r, GrSS rr, GrSS(N)rr, GrSS, rrr rGPG(r), rrr, rGPG(rS), S(NS)P, PPPd P(rS), SP PPPd P, P/S(P) P(GP)d PPGS(N)r, GrSS(N) r, GrSS(N) r…

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Histories, melodies, mythologies, etc…

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—Other ‘Triveni’ Ragas—

As mentioned above, the name ‘Triveni’ (‘Confluence of Three Rivers’) has also been used in reference to various ‘triple-raga combos’, generally unrelated to the main ‘Triveni’ incarnation above. Notable examples include santooriya Tarun Bhattacharya’s recent mix of Lalit, Rageshri, and Jogeshwari (which he also links to a more literal interpretation of the ‘Triveni’ name: stating that “the new raga is not only a tribute to my guru, Pandit Ravi Shankar, on his 100th anniversary, but also a tribute to the trinity of rivers – the Ganga, Yamuna, and Narmada – which form the lifeline and backbone of India…”).

 

And, a few decades earlier, we have an intriguing concoction from pioneering Kirana vocalist Bhimsen Joshi – which, according to Anand Badamikar, mixes elements from Kedar, Bhatiyar, and the ‘Marwa-thaat‘ incarnation of Bibhas (although admittedly, direct information is scant). While mellifluous, it was apparently recorded only twice: the take below, from a 1980s Mumbai baithak with Appa Jalgaonkar on harmonium and Nana Mulye on tabla, and another from a session of unknown provenance. Also check out Joshi’s other creations: including Kalashri, Lalit-Bhatiyar, and (at least one form of) Tanseni Madhuvanti.

 

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—Bhimsen Joshi (1980s)—

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“This recording is the one and only recording of Bhimsen Joshi singing this raga: Joshi personally handed this recording to Dharwad & Lucknow radio stations…[as] he wanted more audiences to listen to this masterpiece. More than 70 cassettes were released, and most of them were sold abroad…”

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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: (none found)

–Swara Geometries–

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• Core form: S–r–G–P–d–N–S

• Reverse: SrGmdNS

• Negative: 4-1-2-1-3-1

• Imperfect: 3 (Pa, dha, Ni)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: ~Bowli

S-R₁-G₃-P-D₁-N₃-S

• Jazz: Double Harmonic (no 4th)

1-b2-3-5-b6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-7-8-11-0

(1–3–3–1–3–1)

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o o • • o • • o o • • o o

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• Tanpura: Sa–Pa

• Names: Triveni, Trivenee, Trivani, Tribani, Tirvan, Tirban

—Pandit Jasraj (1994)—