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Compiling global examples of music in the Dorian b2 Scale

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1-b2-b3-4-5-6-b7

(C-D^b-E^b-F-G-A-B^b)

o o • o • o • o • o o • o

• Dorian b2: Sounds •

Real-world examples of the scale in action:

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• General: 

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• India: Turns up as the Hindustani Raag Ahiri, a seldom-heard form which nevertheless holds great historic importance (see Ahir Bhairav: ‘Mixolydian b2′) – with possible roots in the folk songs of the Ahir, an ancient cattle-herding tribe. Also matches the rare Prabhateshwari (thought to have been invented by mysterious, reclusive surbahar virtuoso Annapurna Devi), as well as underlying the more famous Parameshwari (‘Dorian b2 no5’: devised by Devi’s ex-husband Ravi Shankar by rotating a scale he had just dreamed up to ease the boredom of a long Bengal car ride). In South India, the shape is known as Ragam Natakapriya (melakarta scale #10) – translating as ‘the one who is dear to theatre’.

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—Raag Ahiri (North India)—

Harmeet Virdee & Bhupinder Chaggar (sitar/tabla)

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Q

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• Dorian b2: More •

Features, classifiers, quirks, etc…

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[analysis: coming soon]

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—Classifiers & Quirks—

• Modes: Melodic Minor set (Melodic Minor; Dorian b2; Lydian Augmented; Lydian Dominant; Mixolydian b6; Aeolian b5; Superlocrian)
• Quirks: Hemitonic; Maximal; Reflectional sym. (imperfect: b2, ♮5, ♮6; detached: b2, ♮6)
• Names: Dorian b2 (Western); Ahiri (Hindustani), Natakapriya (Carnatic)

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n.b. For more detailed geometric and mathematical analysis, refer to this scale’s entry in Ian Ring’s fantastic Exciting Universe of Music Theory project (for which I am an occasional ‘raga consultant’)

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