S-R-g-M-P-D-S
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”).
• Raga Megalist (365+) •
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• Hindustani Raga Index •
Aroha: SRgMPDS
Avroh: SDPMgRS
Chalan: e.g. DSRg, SRgMgRS; SRgM; PMDPD; MPgM; PSDP; MPg; RSR; DS (Rajurkar)
—Malini Rajurkar (~1980s)—
[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…
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
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.
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–
• 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–
• 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)
o • o o • • o o • o • • o
• Tanpura: Sa–Pa
• Names: Vijayanagari, Vijay
—Ashok Huggannavar (2021)—