S-r-G-M-P-D-S

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An enchanting sandhiprakash raga, which has different melodic characteristics depending on the time of day. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar describes its ‘morning form’ as “a complex raga combining Hindol [SGMDS] and shuddha Dha Bibhas [SrGrS, PGPDPGr, SrGPDP]…you might also find a glimpse of Deshkar [SDSPD, PDSDP]” – whereas she places the ‘evening form’ closer to Shree (“There are several varieties of Poorvi-thaat Malavi: most are based on Shree, but this particular [performance] is based on Puriya Dhanashree [GrS, PMDS, NrS, rNdP, MDNrNDP, GrSNrG, GrS] with some additional phrases [GGPG, PGrS, PGGP; Pdm, mPG, PdPmmPG; NmPG; rNNPGGP]”. Both incarnations are generally considered to be uttarang-focused, although interpretations display considerable variance in other ways: for example refer to morning renditions by Kumar Gandharva and Mallikarjun Mansur, and an evening take by Nivrutti Bua Sarnaik. Not to be confused with the Carnatic raga of the same name.

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राग मालवी

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Aroha: SrGP, rGMdS

Avroh: SNPMG, rGrS

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Chalan: ‘morning form’ e.g. SrrSS; GPGrS; SrS; rGrPMG; rGrS; SGPM; rMGrS; rGP; MGr; GrS (Sharma)

—Mallikarjun Mansur (~1970s)—

 

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[refrain, e.g. 7:54] (P)D P P\G, G, S(G)SP P (P)G, GP(G)D D D S(DPD)S, r(S)rS (S)D S(DS)D, D(M)P, (P)D P P\G…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson pair, covering her tradition’s ‘morning’ and ‘evening’ (Poorvi-thaat) incarnations of the raga (from Amodini: The Joy of Rare Ragas):

 

“Today, I will talk about the ‘morning’ Raag Malavi. As this is a complex raga, I will begin with the bandish: SG, G(D)M M(S)D, D(SD)S, DP(MP)G, (PD)P PG, G(DM)G rS, SrS, SSG, G(D)M M(S)D, D(MD)S, SS S(D) S(D)SS, (rS)r (r)S, S(DS)D S(DS)M S(D), S D(PMP)G P(MD)PGG, G(D)M M(S)D, (D)SS SS, S(Nr)S SD SS, DS Sr S, SS(rSDS)D P(MP)G, GM(S)D S, SS S(D) S(D) SS, (rS)r (r)SS, S(NSrS)D S(D)M, SD, DS D(PMP)G P(MD)P, P(MP)G.

 

There are different types of Malavi, including versions sung in the morning and the evening – this is the morning one. Now we will see the combination: the main components are Hindol and Bibhas of Marwa thaat (‘Shuddha Dha Bibhas’). I will now demonstrate both these ragas:

• Hindol: SGM (S)DS DMG, S(M)GS, MDS S(S)DS MDS, DMG MGS
• Bibhas: SrG (G)rS, P(MP)G GPD PGr, SrGP, P(MP)D PG, (P)GPGr S, PP(S)D (SD)S, SrS, rSDSDPG, P(MD)PGr GPGrS
• Also, a small glimpse of Deshkar in the uttarang: S(S)DS DP(MP)D, PDS D S(DPM)P

Now, we will see the full structure of Malavi (to represent Hindol, I will raise my thumb, and for Bibhas, my index finger): PPG, PDPGr rS, SSrS, (S)DS (D)M SrS, SrG rSPG, P(MD) (PM)PG rSrS, GM(S)DS, S(DS)D, MDS, SrS, SrGrS (S)D, (PD)S) P(MPM)D, DS SrS (P)MDS DMG, SG(D)M S(D)S DP(MDPM)PG, DPGrS; MG DM SDS, S (S)DSrS DSrG rS (S)DS S(DSD)M DS, SD(SD)P(MP)G, SSr S(S)D, D(PMP)G, P(MDPM)P PG, GDMGr, SrGrS, MDS (S)D, DSrS, SrGrS (S)r (S)DS M(S)DS, D(PMD)P PG.

 

As I always say, the can be different versions of the same bandish. For this particular one, there is also another version, for example sung by Dhondutai Kulkarni. I will conclude with this bandish, set in jhaptal…”

 

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—Malavi: morning (Amodini demo)—

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“Namaskar,

—Malavi: evening (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: (none found)

–Swara Geometries–

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• Core form: S–r–G–M–P–D–S

• Reverse: SgmMdNS

• Negative: 3-1-2-3-2-1

• Imperfect: 3 (re, Ga, Pa)

• Detached: none

• Symmetries: mirror (Sr—MP)

• Murchanas: Milan Gandhar (on Dha)

–Global Translations–

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• Carnatic: (~Gamakakriya)

S-R₁-G₃-M₂-P-D₂-S

• Jazz: Lydian b2 (no 7th)

1-b2-3-#4-5-6-8

• Pitch classes (‘fret-jumps’):

0-1-4-6-7-9-0

(1–3–2–1–2–3)

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o o • • o • o o • o • • o

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• Tanpura: Sa–Pa

• Names: Malavi, Malvi, Malava

• Transliterations: Hindi (मालवी); Bengali (মালবী)

—Kumar Gandharva (~1970s)—