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 form is classed as a janya of Hemavati). While I can’t trace any of Umdekar’s recordings, Malini Rajurkar has performed his pair of dedicated 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 particular 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 original Carnatic form – and read about the ‘Vijayanagara musicological nonet’ (“a group of nine musicological treatises written during the Vijayanagara Empire, counted among the most important treatises in Carnatic music theory”).

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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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• 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

–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

—Ashok Huggannavar (2021)—