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

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A scale of Southern origin, seemingly imported North by Gwalior guru Balabhau Umdekar, which matches the swara set of ‘Madhuvanti minus Ni’ (although the Carnatic original is classed as a ‘janya‘ derivative of Hemavati). While I can’t trace any of Umdekar’s recordings, Malini Rajurkar has performed a pair of his bandish: Sajana Ghara Avo & Sakhi Ayengi More Sajana (as per RMIC: “In Pune, she started with an outstanding rendering of a Carnatic raga called Vijayanagari…The chalan [transcribed below] is very simple…I’ve heard two bansuri recordings, by Ajit Soman and Steve Gorn”). Subbha Rao’s Raga Nidhi Vol. 4 notes “chayas of Shivranjani [SRg; PDS], Multani [SgMP], and Madhuvanti [SRgMPD]” – evident in the twists and turns of Ashok Huggannavar’s more recent rendition, which gives strength to shuddha Re. Prakriti with the seldom-heard Shivawanti (described by its creator Imrat Khan as a direct ‘Madhuvanti-Shivranjani’ jod), as well as some forms of the divergent Madhuranjani. Also compare to the Southern incarnation – and read about the ‘Vijayanagara nonet’ (“a group of nine musicological treatises written during the Vijayanagara Empire, counted among the most important in Carnatic music theory”).

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• Raga Megalist (365+) •

राग विजयनगरी

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• Hindustani Raga Index •

Aroha: SRgMPDS

Avroh: SDPMgRS

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Chalan: e.g. DSRg, SRgMgRS; SRgM; PMDPD; MPgM; PSDP; MPg; RSR; DS (Rajurkar)

—Malini Rajurkar (~1980s)—

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[refrain, e.g. 3:58] (S)R\S, D(SD)S, (DSDR)SD S(DS)D, DP, P(S)D/S (RS)R R(P)g, (RP)g RSR SS, (M)P P M\g(M)g RS, S(RS)R, R(gRS)S, D(SDSD)P, (SD)S…

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• Carnatic Origins •

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—Ragam Vijayanagari—

(Jayanthi Kumaresh)

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“Vijayanagari is said to be a ragam created by Muthiah Bhagavathar. He is also credited with the creations of several other ragams like Karnaranjani, Niroshta, Vijayasaraswathi, Saranga Malhar, etc. While listening to this ragam, you will also get a feel of Shivaranjani. Though this is a Janya ragam of Dharmavathi, others claim that it is a derivative of Hemavathi…’Vijayambike’ is a Bhagavathar composition set to adi talam…”

–All ragas of Carnatic origin–

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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: Shivawanti

Also see other shadav ragas which omit Ni

–Swara Geometries–

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• Core form: S–R–g–M–P–D–S

• Reverse: SgmMDnS

• Negative: 2-3-1-3-2-1 (e.g. Milan Gandhar)

• Imperfect: 3 (ga, Ma, Dha)

• Detached: 2 (ga, Ma)

• Symmetries: mirror (Gm—nN)

• Murchanas: none

–Global Translations–

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• Carnatic: Vijayanagari

S-R₂-G₂-M₂-P-D₂-S

• Jazz: Lydian b3 (no 7th)

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

• Pitch classes (‘fret-jumps’):

0-2-3-6-7-9-0

(2–1–3–1–2–3)

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o • o o • • o o • o • • o

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• Tanpura: Sa–Pa

• Names: Vijayanagari, Vijay

• Transliterations: Hindi (विजयनगरी)

—Ashok Huggannavar (2021)—