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• Raag Malashree •

S-G-P-S Often said to comprise only three swaras (a SGP Major triad), Malashree pushes the bounds of raga definition. Arguably, this challenge is its defining purpose, calling on performers to find expressive freedom within an ultra-limited framework. In practice, this often leads artists to push the raga’s own bounds instead, via including tivra Ma and shuddha Ni […]

 

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• Raag (Chatuswari) Bhavani •

S-R-m-D-S Distinguished by allowing only four swaras (‘chatu’=four, ‘swara’=tones), Bhavani’s symmetrical shape is akin to a ‘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 mid-20th-century experiments of Gwalior vocalist Narayanrao […]