S-R-gG-m-P-d-n-S

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A Gwalior gharana speciality described by Tanarang as “an old melodic form, not much in vogue…very sweet, its unique appeal stems from the application of both gandhars, elaborated similar to Jaunpuri”. Unlike Gandhari, Dev Gandhar allows for both Ga variants in aroha as well as avroh – with Parrikar providing a simple summary for aspiring performers: “take Shuddha Re Asavari, add shuddha Ga as in RnSRG, m. Shake well, but don’t stir” – also recounting how K.L. Saigal’s 1932 recording (Jhulanaa Jhulavo-Ree) “went on to become a national chant. He was initially paid 25 rupees for the song, and when the record company later offered him much more in response to the massive sales, he refused…”. Some renditions may feature tones from outside the base scale (e.g. Vidyadhar Vyas takes a shuddha-tinged uttarang and touches of tivra Ma) – also refer to Manjiri Asanare-Kelkar’s superb breakdown below. Compare to Devgandhari Todi, which adds komal re.

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राग देव गन्धार

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Aroha: SRGmP, mgR, GmPdnS

Avroh: SndP, mPgRG, mgRS

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Chalan: e.g. SRmP; mPdPm; mPdmg; RS; ndndS; RmPmgRS, RnSRG m; mPdm PmPmg; RS, mPnd ndS; SnSdP; PdnSndP; ndPm; RmPdPm; Pmg; RS (Asanare-Kelkar)

—Vidyadhar Vyas (1982)—

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[bandish themes, e.g. 0:41] PDS, R S(RGm) GmG; G(R)mGRS, S(DS)S R(SR)P(m) G(R)S; P(SR)mg RS, R S(DS)D; PDS, R S(RGm) GmG…

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• Ragmalas •

Historic miniature paintings (learn more)

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“The famed Bundi School: the first evidence of Bundi painting belongs to the reign of the Rajput ruler Chattar Sal, and the school reached its apex under the rule of the Hara family…” (Bundi, c.1750) / “Ragini Devagandhara, from the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya” (Hyderabad, c.1750)

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• More •

Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

 

“Today I am going to introduce Raag Dev Gandhar: n(d) n(d)S S(n), SmRm mP, (m)d (P)m, R(Pm)P dmg, (RS)R S, S(gRS) nSRG m, (mP)nd dPmg (S)RS, R(Pm)P, (mP)nd, d(Pd)S (n)S, RS RSn Sndm, (m)PdnS dPndPm, (R)m, mP(mPmnP) mg, (RS)R S, S(RS)n SRG m(R), R(Pm)P dmg, (RS)R S.

 

Before going ahead, I would like to mention that some of these ragas – Dev Gandhar, Asavari, Gandhari, Jaunpuri – are very close to each other. At this point, we will keep all the confusion aside, and focus only on Dev Gandhar. Now, we will see how the raga is elaborated. Along with the swaras of Asavari, shuddha Ga comes in a particular way, with a particular phrase, which I will now demonstrate: SRmP, mPd(P)m, mPdmg, (RS)R S, (n)d(n)dS, [and now shuddha Ga enters:] RmP(mgm)gRS, RnSRG m, mPdm P(nPmP) (m)g, (RS)RS, mP(n)d (n)dS, SnS(nS)dP, PdnS(n)dP, nd(Pm)m, RmPd(Pm)m P(mPnP)g (RS)RS…

 

In this way, when shuddha Ga enters the raga, it creates a beautiful mood…This is how Dev Gandhar is elaborated and developed. I will conclude with a very beautiful bandish in tintal…”

 

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—Dev Gandhar (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Bhankar, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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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: Gunji Kanada

–Swara Geometries–

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• Core form: S–R–gG–m–P–d–n–S

• Reverse: SRGmPdDnS

• Negative: 2-5-3-2

• Imperfect: 2 (Re, Ga)

• Detached: 1 (Ga)

• Symmetries: none

• Murchanas: Miyan ki Malhar set

–Global Translations–

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• Carnatic: (~Basant Bahaar)

S-R₂-G₂-G₃-M₁-P-D₁-N₂-S

• Jazz: Aeolian (dbl. 3rd)

1-2-b3-3-4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-5-7-8-10-0

(2–1–1–1–2–1–2–2)

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o • o o o o • o o • o • o

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• Tanpura: Sa–Pa

• Names: Dev Gandhar, Devgandhar, Dvigandhar, Dwigandhar

• Transliterations: Hindi (देव गन्धार)

—Yunus Hussain Khan/Sachin Dev Burman/Kundan Lal Saigal—