S-R-m-D-S Distinguished by permitting only four swaras (and sometimes titled ‘Chatuswari’: ‘four-toned’), Bhavani’s symmetrical shape is akin to ‘Durga no Pa’. Its intriguing surtar sparsity necessitates a multipolar approach to melodic resolution, tempting a murchana-like refocus towards the triads available from Re (RmD: minor) and ma (mDS: major). Associated with the 20th-century experiments of Gwalior […]
• Raag Bhavani •
• Raag Abhogi •
S-R-g-m-D-S A rare instance of an ‘audav Kanada’ raga, Abhogi’s swara-set resembles ‘Bageshri‘s aroha without ni’ – presenting a clustered poorvang and sparse uttarang (SRgm; DS). As per Tanarang, the raga’s capacity for Darbaric concluding motions (mgmRS) summons “a deep atmosphere” – with the vacant upper scale presenting performers with a curious creative challenge. Abhogi is […]
