1. Raga Nidhi A Comparative Study of Hindustani & Karnatik Ragas Subba Rao B. Vol 2

BHARATIYA SANGEET

RAGANIDHI

A COMPARATIVE STUDY OF

HINDUSTANI AND KARNATAK RAGAS

VOLUME TWO

(D to J)

B. SUBBA RAO

Aided by the Sangeet Natak Akademi

New Delhi

PUBLISHED BY

THE MUSIC ACADEMY, MADRAS

115-E, MOWBRAY'S ROAD, MADRAS-14

Rupees Five

RAGANIDHI

A COMPARATIVE STUDY OF

HINDUSTANI AND KARNATAK RAGAS

B. SUBBA RAO

VOLUME TWO

Aided by the Sangeet Natak Akademi

New Delhi

PUBLISHED BY

THE MUSIC ACADEMY, MADRAS

115-E, MOWBRAY'S ROAD, MADRAS-14

Rupees Five

1st Impression—1964

All rights reserved by the

Music Academy, Mowbray's Road, Madras.

DEDICATED TO THE REVERED

MEMORY OF MY PARENTS

WHO GAVE ME

THE GREATEST OF GIFTS

" LOVE FOR MUSIC "

PRINTED IN INDIA BY G. H. RAMA RAO AT

MYSORE PRINTING AND PUBLISHING HOUSE

MYSORE

Blessings from His Holiness Shivanandaji.

" May the Blessings of the Lord rest on the noble work. May God bless you and all those who have helped you in the publication of this book. May all learn to increase their devotion to the God through the singing of devotional bhajans and kirtans "

B. SUBBA RAO

Retired Deputy Director of Agriculture,

Madhya Pradesh.

Member, Central Advisory Board for Music,

A.I.R. New Delhi.

Formerly, Member of Board of Studies in Music,

Nagpur University.

PREFACE

In 1956 I brought out a volume of my comparative study

of the Hindustani and Karnatak ragas. This book received a

detailed review in the pages of the Journal of the Music

Academy, Madras. This proved not only an encouragement to

me but also the beginning of the interest which Dr. Raghavan,

Honorary Secretary of the Music Academy, Madras, took in

my book Raganidhi. I felt very happy when the Music Academy

expressed its desire to publish the book. I could not think of

a better body than the Music Academy, Madras, to publish my

book, to compile which I had laboured for several years. I gave

away as a gift to the Music Academy my life’s work with a

request that the Academy should publish the whole work early

so that I may be able to scrutinise the proofs myself as mistakes

were likely to creep in if those who corrected the proofs were not

acquainted with both Hindustani and Karnatak systems of

music. I am glad to see that volume II of Raganidhi comprising

of ragas under alphabets ‘D’ to ‘J’ is now ready for publication.

I am eagerly looking forward to the publication of the remain-

ing volumes including Volume I which has to be republished

after revision. I shall consider my labours amply rewarded if

my Raganidhi will be found useful by lovers of Indian music in

this country and outside.

Bharatiya sangeet is like a tree with two branches called

Hindustani and Karnatak. Hence there are many important

features which are common to them. Differences are superficial

and not very significant. A comparative study of the two

systems is not only interesting but necessary for all students

and lovers of Indian music.

In Raganidhi I have confined myself to the brief study of

Ragas of North and South as Ragas form the soul of Indian

music. Mostly ragas in which popular compositions exist have

been discussed. A few new ragas which are interesting and

deserve popularity are also included. A chapter is devoted to

details regarding the nomenclature of the svaras used in the two systems as an understanding of these is necessary to follow the book. When volume I of Raganidhi will be revised certain other aspects of the two systems will also be briefly discussed therein.

I am grateful to Dr. V. Raghavan for the many valuable suggestions given by him and for the many alterations and corrections which he made when going through the final proofs. I am indebted to Sri K. Sitaramiah, Retd. District Forest Officer, M. P. and to Sri K. R. Subramanyam, student, Engineering College, Mysore, for correcting the proofs. They have assured me that it was a great pleasure for them to associate themselves with this difficult job. I have to thank Sri G. H. Rama Rao, Manager of the Mysore Printing and Publishing House for printing Raganidhi Volume II neatly and quickly inspite of this work being the first of its kind undertaken by them.

I am grateful to the Sangeet Natak Akademi, New Delhi for having given a grant to the Music Academy, Madras, towards the cost of publishing all the volumes of my book Raganidhi.

I am under a deep debt of gratitude to the authors of Books and Journals which I have consulted while preparing Raganidhi:

SRINIVASAM 1297, IV Cross Road, Krishnamurthypuram, Mysore-4 B. SUBBA RAO.

PUBLISHER'S NOTE

The Music Academy, Madras has great pleasure in bringing out the Raganidhi, a valuable compilation of Ragas of both the Carnatic and the Hindustani systems made by Sri B. Subba Rao. The circumstances under which the Music Academy, Madras has sponsored this publication have been set forth by the author in his introduction. It was in 1956 that the Academy came to know of Sri B. Subba Rao, Retired Deputy Director of Agriculture, Madhya Pradesh, through his publication of a first volume of his comparative study of the Ragas of the North and the South entitled 'Raganidhi (Encyclopaedia of Indian Ragas, Vol. I)'. The Academy has always been laying emphasis on the comparative study of the two systems of Indian music and both in its Conferences and concerts, year after year, the Academy has endeavoured to bring together the musicians and musicologists from all parts of India. Eminent musicians and scholars of the North had continuously taken part in the discussions of the Academy's Expert's Committee meetings. In the systematic analysis and the laying down of the proper Lakshanas of Ragas, so far as Carnatic music is concerned, the Academy has accomplished the most difficult and at the same time, most important work. Through the discussions of the Lakshanas of the Ragas conducted by the Expert-Vidyans of the Academy in about 25 Conferences, the Academy has prepared a codification of Raga Lakshanas.

It was therefore a great pleasure for the Academy to know of the work which Sri B. Subba Rao had undertaken in the field of Ragas. In the Journal of the Academy, a detailed review and appreciation of the first instalment of his work were given. Sri B. Subba Rao has since then been attending regularly the annual Conferences of the Academy, participating in the discussions of the Expert's Committee Sessions, and contributing to their scholarly value. It occured to the Academy that as an organisation which has pioneered in the

publication of learned treatises on music, it could sponsor the

publication of the remaining portions of his Encyclopaedia of

Ragas of the North and the South. The proposal of the

Academy and the author was approved by the Central Sangeet

Natak Akademi who gave a grant towards the publication of

this work. It is as a result of this endeavour that the Academy

is bringing out the Hind volume of the Raganidhi of Sri

B. Subba Rao. After the completion of the series, Volume I,

published in 1956, will also be revised and re-issued.

In his comparative study, it could be seen, the author has

gone about his task in a very comprehensive manner, collect-

ing material not only on the more well-known and more

frequently sung Ragas, but also on the rarer ones, including

those that have been invented by some of the recent musicians.

Under each Raga, both in the Hindustani and the Carnatic

sections, the Raga is briefly described with reference to its That

or Mela; the Aroha and Avaroha are given; special Sancharas

and Prayogas and certain essential or characteristic features

which are not to be forgotten are added; and finally illustrative

compositions in the Raga are mentioned. Some interesting

historical information or anecdote is also noted.

The Music Academy, Madras feels gratified that it has

been able to bring out such an important work as a Thesaurus

of Indian Ragas. We are glad to issue the Second Volume of

this work on the occasion of our 37th Annual Conference,

during the sittings of its Experts' Committee.

27th December 1963

The Music Academy, Madras

V. RAGHAVAN

Signs and Abbreviations used

Hindustani—H Karnatak—K

Seven svaras are represented as under :-

Shadja - Sa - स.

Rishabha - Ri - रि.

Gandhara - Ga - ग.

Madhyama - Ma - म.

Panchama - Pa - प.

Dhaivata - Dh - ध.

Nishada - Ni - नि.

Mandra Saptak Svaras.

निस्‍वरम रि स (A dot below each svara).

Madhya Saptak Svaras.

स रि ग म प ध नि (No dot).

Tara Saptak Svaras.

स ऽरि ऽग ऽम ऽप ऽध ऽनि (A dot above each svara).

Komal stands for European Flat or Karnatak Taggu.

Sign used is a slant stroke below the svara as रि ग ष नि.

Tivra stands for European Sharp or Karnatak Hetchu.

There is no stroke or any other sign. रि ग ष नि (Plain).

Suddha or Komal Ma of :Hindustani—No sign (Plain)—म.

Prati or Tivra Ma of Hindustani—Vertical stroke on top of

the note-म्‍.

Three varieties of Rishabha, Gandhara, Dhaivata and

Nishada and two varieties of Madhyama according to Karnatak.

R1—Ri2—Ri3—Ga1—Ga2—Ga3— Ma1—Ma2—Dh1—Dh2—Dh3— Ni1—

Ni2—Ni3.

ra-ri-ru-ga-gi-gu-ma-mi-dha-dhi-dhu-na-ni-nu.

Kan or Grace Note placed on the left top of note—

म ग ण

ग - रि - नि

Elongation of svaras indicated by a S as in न ऽस ऽरि ऽस ऽन ऽस.

Meend—Indicated by a curved line above the svaras included in

the meend, स म रि—प रि etc.

Halt—Indicated by a dash :

म - ग - प म—etc.

Nomenclature of Svaras or Notes

In Bharatiya Sangeet excepting the two svaras Sa and Pa the other five svaras have broadly speaking, two variations each—the lower pitched and the higher pitched. In Hindustani the terms Komal and Tivra are used to indicate these. In Karnatak the terms Taggu and Hetchu are used to indicate these Flats and Sharps used in western Music for the same purpose. In Karnatak however these Taggu and Hetchu svaras have other names as well. There are therefore twelve notes or svaras (2+5×2=12) in an octave. One thing to be remembered is that in Bharatiya Sangeet the Shadja or Sa which is taken to be the Base Note or Adhara Shruti is not a note of constant pitch unlike the ‘C’ of European Music which is a pitch of a fixed number of vibrations per second. Generally it is 240 v.s. The pitch of Sa chosen varies within wide limits depending upon the voice or the chief instrument in a concert. Hence the remaining eleven notes of the octave vary in their vibrational values according to that of the Adhara Sruti (Shadja) as they are all relative and not fixed.

In Hindustani sangeet signs used,according to Bhatkhande’s system which is the one mostly in vogue, are a downward slant ( ̃ ) to indicate the lower pitched (Komal, Taggu or Flat) notes of Ri, Ga, Dh and Ni. In the case of Ma however a vertical bar ( | ) is used to indicate the higher note (Tivra, Hetchu or Sharp). The downward slant or tail for Komal svaras is used below the svaras Ri, Ga, Dh and Ni as ṛi ṅu ḍhu ṅi. The vertical bar for Tivra Ma is used above the svaras as ṃ. Sa and Pa have no signs. Hence the twelve notes in Hindustani are represented by :-

ṛi ḍi ṅu ṃa ṃ pā ḍhu ṅi ṅi.

In Karnatak the signs given for these are :

s · ṛi1 · ṛi2 · ṅa2 · ṃa1 · ṃa2 · pa · ḍha1 · ḍha2 · ṅi2 · ṅi3.

In the above ṅa1 and ṅi1 are not found but contrary to expectation ṅa3 and ṅi3 are found. It happens to be like this. In Karnatak, ṛi2 (Tivra Ri-ṛ) goes up to the pitch or position of ṅa2 (Komal Ga-ṅ) and becomes ṛi3. Dh2 (Tivra Dh-ṣ) goes up to Ṇi2 (Komal Ni-ṅ) and becomes Dh3. Similarly Ga2 (Komal Ga-ṅ) comes down to the pitch of ṛi2 (Tivra Ri-ṛ) and becomes ṛi3 and Ṇi2 (Komal Ni-ṅ) comes down to the pitch of Dh2 (Tivra Dh-ṣ) and becomes ḍh1.

In the above process twelve svaras of Hindustani become sixteen of Karnatak by each of the svaras Ri, Ga, Dh and Ni getting a third status although there is really no change in the pitches of the twelve svaras. These are explained in the accompanying charts.

To those who are acquainted only with Hindustani system the names and sthanas (positions) of the sixteen svaras of Karnatak is no doubt a little confusing. For instance to maintain the pitch at Tivra Ri (ṛ) and utter it as Ga (Ga1 or Suddha Ga) is a problem. The svara group of s ṛi1 ṅa2ṁ of South in which Suddha Ga occurs will only be rendered by the Hindustani musicians as s ḍi ri ṁ. Similarly s ṛi3 ṅa2 ṁ would be s ṅu ṁa ṁ.

The adjective Suddha stands for different things in the two systems. In Hindustani the Suddha svaras are those which are used in the Bilaval That. This corresponds to Melakarta Dheerasankarabharana of Karnatak. They are :

s - ri - ga - ma - pa - dha - ni

(Tivra)--(Tivra)--(Komal) (Tivra)--(Tivra).

According to Karnatak notation for equivalent notes, they are :

s · ṛi2 · ṅa3 · ṃ1 · pa · ḍha2 · ṅi3.

The Suddha svaras of Karnatak are those which are found in its Melakarta Kanakangi. They are :

s - ṛi1 - ṅa1 - ṃ1 - pa - ḍha1 - ṅi1,

(ra) - (ga) - (ma) (ma) (dha) - (na).

According to Hindustani, notation for equivalent notes are :

s · ri · ṛi · ri · ma · pa · ḍha · ḍha.

Ten Thats of Hindustani Sangeet and the ten corresponding Karnatak Melakartas :

Serial No.

Hindustani That

Svaras used

Corresponding Karnatak Melakarta

M.K. No.

Svaras used

Kalyan or Yaman

स रि ग म प ध नि

Mechakalyani

स रि2 ग3 म2 प ध2 नि3

Bilaval

स रि ग म प ध नि

Dheerasankarabharana

स रि2 ग2 म1 प ध2 नि3

Khamaj

स रि ग म प ध नि

Harikambhoji

स रि2 ग3 म1 प ध2 नि3

Bhairav

स रि ग म प ध नि

Mayamalavagaula

स रि1 ग3 म1 प ध1 नि3

Poorvi

स रि ग म प ध नि

Kamavardhani

स रि1 ग3 म2 प ध1 नि3

Marwa

स रि ग म प ध नि

Gamanashrama

स रि1 ग3 म2 प ध2 नि3

Kafi

स रि ग म प ध नि

Kharaharapriya

स रि2 ग2 म1 प ध2 नि2

Asavari

स रि ग म प ध नि

Natabhairavi

स रि2 ग2 म1 प ध1 नि2

Todi

स रि ग म प ध नि

Subhapantuvarali

स रि1 ग2 म2 प ध1 नि3

Bhairavi

स रि ग म प ध नि

Hanumatodi

स रि1 ग2 म1 प ध1 नि2

Varieties of Svaras used in Hindustani and Karnatak Systems

(Twelve svaras of Hindustani and sixteen of Karnatak )

No.

Svara

Hindustani

Karnatak

Fixed svaras, Four extra svaras of Karnatak

Name of Variety

Sign

Name of Variety

Signs

Shadja

Shadja

स.

Shadja

Sa

Adhara Shruti- (Base Note).

Rishabha (Rikhab)

Komal Ri

रि.

Suddha Rishabha

ri

No variation.

-do-(do)

Tivra or Suddha Ri

रि2

Chatushruti Rishabha

ri2

This becomes also Suddha Ga of South—Ga, or ga.

Gandhara

Komal Ga

ग.

Sadharana Gandhara

ग2

This becomes also Shatsru-ti Ri of South—Ri3 or ru.

-do-

Tivra or Suddha Ga

ग.

Antara Gandhara

ग3

No Variation.

Madhyama

Komal or Suddha Ma

म.

Suddha Madhyama

म1

No Variation.

-do-

Prati or Tivra Ma

म.

Prati Madhyama

म2

No Variation.

Panchama

Panchama

प.

Panchama

Pa

No Variation.

Dhaivata

Komal Dh

ध.

Suddha Dhaivata

ध1

No Variation.

-do-

Tivra or Suddha Dh

ध2

Chatushruti Dhaivata

धि

This becomes also Suddha Ni of South—Ni1-na.

Nishada (Nikhad)

Komal Ni

नि.

Kaisiki Nishada

नि1

This becomes also Shat-sruti Dh of South—Dhs or dhu.

-do-

Tivra or Suddha Ni

नि2

Kakali Nishada

नि3

No Variation.

Chakra

The Seventy two Melakartas of Karnatak Sangeet

M. No.

Suddha Madhyama-Ma₁ - ma

Svaras used

Prati Madhyama-Ma₂ - mi

M. No.

Chakra

Present Name

Old Name

Present Name

Old Name

I Indu

Kanakangi Ratnangi Ganamurti

Kanakambari Phenadyuti Ganasama- varali

ra-ga-dha-na ra-ga-dha-ni ra-ga-dha-nu

Salagam Jalarnavam Jhalavarali

Sougandhini Jaganmohana Dhalivarali

VII

Vanaspati Manavati Tanarupi

Bhanumati Manoranjani Tanukirti

ra-ga-dhi-ni ra-ga-dhi-nu ra-ga-dhu-nu

Navanitam Pavani Raghupriya

Nabhomani Kumbhini Ravikriya

Rishi

II Netra

Senavati Hanumatodi Dhenuka

Senagrani Janatodi Dhuni Bhinna- shadja

ra-gi-dha-na ra-gi-dha-ni ra-gi-dha-nu

Gavambhodhi Bhavapriya Subhapanatuvarali

Girvani Bhavani Shivapantu- varali

VIII

Natakapriya Kokilapriya Rupavati

Natabharana Kokilarava Rupavali

ra-gi-dhi-ni ra-gi-dhi-nu ra-gi-dhu-nu

Shadvidamargini Suvarnangi Divyamani

Sthavaraj Souveera Jeevantini

Vas

III Agni

Gayakapriya Vakulabharana Mayamalava- gaula

Geyahejjujji Dhati Vasanta Mayamalava- gaula

ra-gu-dha-na ra-gu-dha-ni ra-gu-dha-nu

Dhavalambari Namanarayani Kamavardhani

Dhavalanga Namadeshi Kashirama- kriya

IX

Chakravaka Suryakanta Hatakamhari

Toyavega- vahini Chayavati Jayasuddha Malavi

ra-gu-dhi-ni ra-gu-dhi-nu ra-gu-dhu-nu

Ramapriya Gamanasrama Vishvambhari

Rama- manohari Gamakapriya Vamshavali

Brahm

IV Veda

Jhankara dhvanim Natabhairavi Kiravani

Jhankara- bhramari Naritigauta Kiranavali

ri-gi-dha-na ri-gi-dha-ni ri-gi-dha-nu

Syamalangi Shanmukhapriya Simhendra- madhyama

Syamala Chamara Sumadyuti

X

Kharahara- priya Gaurimanohari Varunapriya

Shriraja Gaurivelavali Veeravasanta

ri-gi-dhi-ni ri-gi-dhi-nu ri-gi-dhu-nu

Hemavati Dharmavati Nitimati

Deshisimha- rava Dhamavati Nishada

Desi

Chakra

M. K. No.

Suddha Madhyama - Ma₁ - ma

Svaras used

Prati Madhyama—Ma₂ - mi

M. K. No.

Chakra

V Bana

25. Mararanjani 26. Charukesi 27. Sarasangi 28. Harikambhoji 29. Dheerasankarabarana 30. Naganandini

Sharavati Tarangini Sourasena Harikedara-gaula Dheerasankarabarana Nagabharana

ri-gu-dha-na ri-gu-dha-ni ri-gu-dha-nu ri-gu-dhi-ni ri-gu-dhi-nu ri-gu-dhu-nu

Kantamani Rishabhapriya Latangi Vachaspati Mechakalyani Chitramhari

Kunthala Ratipriya Geetapriya Bhushavati Shantakalyani Chaturangini

XI

31. Yagapriya

Kalavati

ru-gu-dha-na

Sucharita

Santana-manjari

VI Rutu

32. Ragavardhani 33. Gangeyabhushani 34. Vagadhisvari 35. Sulini 36. Chalanata

Ragachudamani Gangatarangini Bhogachayanata Sailadeshakshi Chalanata

ru-gu-dha-ni ru-gu-dha-nu ru-gu-dhi-ni ru-gu-dhi-nu ru-gu-dhu-nu

Jotisvarupini Dhatuvardhani Nasikabhushani Kosalam Rasikapriya

Jotiragam Dhauta-panchama Nasamani Kusumakara Rasamanjari

XII Aditya

Chart indicating how twelve svaras of Hindustani become sixteen of Karnatak

Sa(K) Ri₁(K) Ri₂(K) Ga₂(K) Ga₃(K) Ma₁(K) Ma₂(K) Pa(K) Dh₁(K) Dh₂(K) Ni₂(K) Ni₃(K) Sa(K)

Ri₃ (K)

Ga₁ (K)

Ni₁ (K)

Dh₃ (K)

CONTENTS

Preface

.. v

Publisher's Note

.. vii

Signs and abbreviations used

.. ix

Nomenclature of svaras (notes)

.. x

Ten Thats of Hindustani

.. xii

Seventy two Melakartas of Karnatak

.. xlii

Ragas (D to J)

.. 1 to 176

Appendix

.. 177

Bibliography

.. 178

Index

.. 179

Errata

.. 185

DAULATI

Hindustani

This unfamiliar raga belongs to Kafi That (Kharaharapriya).

Its jati is Audava-Shadava. Svaras Ma and Dh are omitted in aroha. In avaroha varja svara is Dh. Its aroha and avaroha are, स रि.ग.नि प ध नि स—स नि प.ग. म रि.स.

Pakad or Gunjan svara groups are:-

नि प ध-नि प, म प ध-नि प, म ग रि-स,

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, both Komal and Tivra Ni. Vadi svara is Pa. Samavadi is Ri. In this raga chayas of Kafi, Sarang, and Suha ragas are found.

Svara group नि प ध नि प in which a jerky descent as नि ध प is given, sounds beautiful. Instead of ग म रि स ग रि स is used. Sangati रि ग is prominent. Sometimes ग प ध is also used.

This raga is sung between .10 P.M. and midnight. Compositions in this raga are :-

Mora Hi Aye Mere —Trital (Madhya)—Balaram Roy.

Hari Bina Koyee Nahi —Trital (Madhya)—G. D. Bhatt.

Karnatak

There is no raga called Daulati in Karnatak sangeet.

Karnataka raga, Karnataka Kapi, (there is also a raga called Hindustani Kapi in Karnatak sangeet) resembles Daulati to some extent. In:Karnataka Kapi svara Dh is used in both aroha and avaroha. Tivra Ni (Kakali Ni) is not used. (See Karnataka Kapi)

DEEPAK (Bilaval That)

Hindustani

In Hindustani sangeet there are ragas called Deepak belonging to Bilaval, Khamaj, Kalyan, and Poorvi Thats. It is only regarding Deepak raga belonging to Poorvi That

that unanimity and reliability of opinion exists.

Deepak raga is an ancient raga. It is said that this raga had the power of creating fire. But no one is able to demonstrate its power to day. Tansen is said to have performed this successfully by singing Deepak raga and lighting the wicks. (Tansen was the famous Court Musician of Akbar). But which of the types of Deepak raga had this miraculous power is not known.

Deepak raga belonging to Bilaval That is a mixture of Bihag and Jinjoti ragas. Its jati is Shadava–Sampoorna. Svarā Ri is omitted in aroha. Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh, and both Komal and Tivra Ni. Jinjoti anga consists of—निᅟ‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠ. Bihag anga consists of—सᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ. This type of Deepak raga is sung in the evening. Chalan or trend of this raga is as under :-

ᅠᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠतᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ

Deepak raga belonging to Bilaval That is not a popular raga. The following composition is sometimes heard :

Lala Ke Brija Banaka–Jhumra Tal. (Vilambit).

Deepak (Bilaval That) has some resemblence to Deepak of Khamaj That. But in the latter type Jinjoti and Bihag angas are avoided.

Karnatak

There is no raga in Karnatak sangeet which resembles Deepak raga of Bilaval That (Dheerasankarabharana) of Hindustani sangeet.

DEEPAK (Khamaj That)

Hindustani

Raga Deepak of Khamaj That (Harikamboji) is a Shadava Sampoorna raga. Svara Ri is omitted in aroha. Its aroha and avaroha are :-

सᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ

DĒEPAK (KHAMAJ THAT)

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh, and both Komal and Tivra Ni. Tivra Ni is used in aroha and Komal Ni in avaroha. There are vakra sáncharas पᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠ and पᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠ in aroha and avaroha. Sangati धᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠ is frequently used. सᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠ and पᅟ‌‌‌‌‌‌ ᅟᅠरᅟ‌‌‌‌‌‌ ᅟᅠ are also occasionally used. Raga commences in mandra sthayee with the svaras निᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ. Antara commences with सᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ or मᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ. Sancharas सᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ and सᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠ are also found. Ending of the raga is with पᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ. Chalan of this raga is as shown below :

सᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠनᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ

सᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠनिᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠगᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ

Compositions in raga Deepak of Khamaj That are:- Chouka Puravori Ali–Ek Tal (Vilambit)—S.N. Ratanjankar. Deepaka Ki jota Taranako—Trital (Madhya). —S.N. Ratanjankar.

Allied Hindustani ragas are Khamaj and Deepak (Bilaval That).

Khamaj—सᅟ‌‌‌‌‌‌ ᅟᅠपᅟ‌‌‌‌‌‌ ᅟᅠधᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠ with Dh elongated is used. Raga ends with सᅟ‌‌‌‌‌‌ ᅟᅠमᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ and not with पᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ. (See Khamaj).

Deepak (Bilaval That) :-Jinjoti and Bihag angas are kept prominent. पᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ is not used. (See Deepak Bilaval That).

Karnatak

There is no Deepaka raga in Karnatak sangeet resembling Deepak of Khamaj That (Harikamboji) of Hindustani sangeet. Karnatak raga Khamas has some resemblence to this kind of Deepak. But the ending of the raga is not done with पᅟ‌‌‌‌‌‌ ᅟᅠरिᅟ‌‌‌‌‌‌ ᅟᅠसᅟ‌‌‌‌‌‌ ᅟᅠ. (See Khamas).

DEEPAK (Poorvi That)

Hindustani

Poorvi That corresponds to Kamavardhini Melakarta of south. Deepak raga of Poorvi That is a Shadava—Shadava raga. Varja svaras are Ri in aroha and Ni in avaroha. Its aroha and avaroha are :—

स ग म प ध नि सं—सं धु प म ग रि स

An alternative aroha and avaroha using the svaras as in the above is :—

नि रि स - नि स ग म - धु प - ग म - धु प स — स रि स - ग - म प धु प म ग - रि ड - स

In the second set of aroha and avaroha there are a few Vakra sanchras which are likely to enhance the beauty of the raga. Diagnostic svara groups or “Pakad ” of this raga are :—

संरि स - म प म ग - रि ड - स. Svaras used in this type of Deepak raga are Komal Ri, Tivra Ga, Prati Ma, Komal Dh, and Tivra Ni. Vadi and Samavadi svaras are Sa and Pa respectively. Some suggest the reverse arrangement.

This is an evening raga to be sung at “lamp-lit” time. Prakriti of this raga is one of shanti and gambhirya.

Meend from tara Shadja to Panchama in sounds beautiful. In this raga chayas of Shree, Jetashree, Reva and Poorvi ragas are found. Care has to be taken not to bring any one of the following angas of the above mentioned ragas to too much prominence. Shree—स . दि रि स . प Jetashree—नि स न प Reva—नि रि स - स ग प Poorvi—स . म प . धु प - मंच . रि स

In raga Deepak the svara groups स रि स प म and नि दि नि प which are characterstic of raga Shree are not used. Svaraa Pa is not elongated as in Jetashree. Similarly svara Ga is not elongated which is a feature in Poorvi. In Shree, tanas contain-

DEEPAK (POORVI THAT)

ing Ga are not used. Shree chaya is dispelled by using Poorvi anga, and Poorvi chaya is dispelled by using Shree anga. This trick should be resorted to while rendering this Deepak raga.

In uttaranga the svaras म प धु नि सं give the Deepak chaya. Compositions in this type of Deepak raga are,

Deepaka Kathana Karatha - Jhaptai (Madhya) -

This is a Lakshanageet.

Savana ki Sakhi—Ektal (Vilambit)—J. D. Patki

Karnatak

Raga called Deepaka of Karnatak sangeet is a janya of the 51st Melakarta, Kamavardhini (ra, gu, mi, dha, nu) which corresponds to Poorvi That of Hindustani sangeet. Its jati is Audava—Sampoorna. Svaras Ri and Ni are omitted in aroha. Aroha and avaroha of raga Deepaka are,

स ग म प ध पं स — स नि ध प म ग रि स

3 2 1 3 1 3 2 3 1

Svaras used are Suddha Ri, Antara Ga, Prati Ma, Suddha Dh, and Kakali Ni. There is vakra sanchara of Dh in aroha and of Ni in avaroha. According to Hindustani notation the above aroha and avaroha are,

स ग म प ध पं स — सं धु नि प म ग रि स

From the above aroha and avaroha it will be seen that the Karnatak raga Deepaka has great resemblence to the Hindustani raga Deepak of Poorvi That. In the Hindustani raga, svara Ni is used in aroha but not in avaroha. It is the reverse of this in Karnatak Deepaka. Raga Deepaka is not very popular. The following composition is however often presented :

Kalala Nerchina Munu (Telugu)—Adi Tala—Thyagaraja.

Although no legend of lighting wicks by singing raga Deepaka, is rememberd in Karnatak sangeet, such a miracle is associated sometimes with the Jyotisvaroopini raga. (See Jyotisvaroopini).

DEEPA KALYAN

Hindustani

Deepa Kalyan belongs to Kalyan That (Mechakalyani). It may be that this is the Deepak raga belonging to Kalyan That. Its jati is Audava-Audava. Svaras Dh and Ni are omitted. In avaroha both Komal and Tivra Ma are used. Other svaras are Tivra. Aroha and avaroha of Deepa Kalyan are :

सा रे म प नि - सां नि ध प म ग रे स

Komal Ma is used in a vakra sanchara between two Gas.

Karnatak

There is no raga called Deepa Kalyan. There is no Karnatak raga which resembles the Hindustani raga Deepa Kalyan.

DES or DESH

Hindustani

Raga Des or Desh belongs to Khamaj That (Harikamboji). It is an Audava - Sampoorna raga, varja svaras in aroha being Ga and Dh. Aroha and avaroha of Desh are :-

सा रे ग म प - नि धु प म ग रे स

Diagnostic or Gunjan svara groups are रि ध प - नि ध प म ग रि स. Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Sometimes Komal Ga is used in tara saptak as स - रि ग रि स - रि नि स. Vadi svara is Pa. Samavadi is Ri. Some suggest Ri as Vadi and Pa as Samavadi. This raga is sung between 9 P. M. and midnight. Sangati ग म which is frequently used sounds beautiful.

DESHA GOUD

Tivra Ga is elongated so that the chaya of raga Tilak kamod may not creep in. Desh is a popular raga. It is mixed with other ragas while singing Thumries and Hori. Popular compositions in this raga are :-

Piya Kara Dhara Dekho--Ektal (Madhya),

Hori Khelana Ko--Trital (Madhya)--S. N. Ratanjankar.

Hindustani ragas Sorat and Tilak kamod are allied to Desh. Tilak kamod--Ni is elongated. Svara groups प ध म व स and सं प ध म प स in which Ni is omitted are used frequently. (See Tilak kamod).

Sorat--Ga is dropped in avaroha. Svara groups ध म रि स and म रि स, in which Ri is elongated, are used (See Sorat).

Karnatak

There is no old raga called Des or Desh in Karnatak sangeet. Raga Kedara-gaula resembles Desh very closely. Kedaragaula is a janya of the 28th Melakarta, Harikamboji (Khamaj That). Its aroha and avaroha according to Hindustani notation are :-

सा रि म प नि - स नि ध प म ग रि स

In Kedaragaula Ni should be Komal in both aroha and avaroha. But actually in aroha the Ni used is slightly higher in pitch and sounds like Tivra Ni. (See Kedaragaula).

Now Hindustani raga Desh has also become popular in the south. It is rendered in the same style as in the north.

DESHA GOUD

Hindustani

Desha Goud belongs to Bhairav That (Mayamalavagaula). Its jati is Audava--Audava. Svaras Ga and Ma are omitted both in aroha and avaroha. Aroha and avaroha of Desha Goud are :-

सा रि प नि स - सां नि धु स रि स

Pakad or Gunjan svara groups are स - रि स - प धु धु नि स.

षु - दि पद्‌ ध - रि स् Svaras used are Komal Ri, Komal Dh, and Tivra Ni. Vadi and Samavadi svaras are Dh and Ri. This is a peculiar raga. There is no other raga in Bhairav That in which svaras Ga and Ma are both absent. This is an unfamiliar raga. Its trend or Chalan is as under :-

दि रि स - द्‌ रि ध्‌ - प्‌ ध्‌ - नि स् - नि दि रि स - स रि स - प - दि ध्‌ - धु - धु नि - धु - दि प - दि रि स.

धु धु नि सं-सं सं-दि रि सं-सं-धु-नि सं सं-सं निष्‌ ध्‌ रि प्‌ - धु धु प - सं नि धु - निष्‌ ध्‌ रि - प दि रि स.

Vishranti sthanas or halting svaras are Sa, Ri and Pa. A Composition in this raga is :

Desha Gaudako Gaya--Tevra Tal (Madhya)

This is a Lakshanageet.

Karnatak

There is a raga called Deshya Gaula in Karnatak sangeet which resembles the Hindustani raga Desha Goud very closely. Aroha and avaroha of Deshya Gaula according to Hindustani notation are.

स रि स प धु नि सं-सं नि धु प स दि स

Karnatak raga Deshya Gaula is not a popular one. But it is interesting.

DESHAKSHI

Hindustani

Deshakshi of Hindustani sangeet is more popularly known as Devasakh or Deshakhya. Hence it is described in detail under Devasakh. (See Devasakh). Its aroha and avaroha are :-

नि धु - म रि - प म - नि ध्‌ - सं-सं - नि प - म प - गु म - रि स

Hindustani राग Devasakh has no resemblence to the Karnatak raga Deshakshi. Karnatak raga Deshakshi may be called Bhoop Khamaj as its aroha is Bhoop and avaroha is Khamaj as,

DESHI OR DESI TODI

स रि प ध सं-सं नि ध म गरि स

Karnatak

Deshakshi is a janya of the 28th Melakarta, Harikamboji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani. It is an Audava-Sampoorna raga. Svaras Ma and Ni are omitted in aroha. Aroha and avaroha:

स रि ग3 प ध2 सं-सं नि2 ध2 प म1 ग3 रि2 स

Svaras used are Chatsruti Ri, Antara Ga, Suddha Ma, Chatsruti Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are:

स रि ग प ध सं-सं नि ध प म गरि स

Aroha resembles Mohana and avaroha, Harikamboji. This combination may be called Mohana-Kamboji or Bhoop-Khamaj. To the southerners Deshakshi sounds like raga Bilahari with only Kaisiki Ni.

In the Gita composed by Shri Purandara Dasa in the raga Deshakshi, the sanchara seems to have a chaya of Jinjoti as can be judged from the following svara groups which occur in the gita : म ग रि - म ग - रि स। सु नि, ध - सुध रि रि

Deshakshi is a rare raga.

DESHI or DESI TODI

Hindustani

Deshi or Desi or Desi Todi is a very popular raga. It is sung during the second prahara of the day (9 A.M. to midday). This raga belongs to Asavari That (Natabhairavi). There are two types of this raga : (1) Audava-Sampoorna, and (2) Shadava-Sampoorna. In the Audava-Sampoorna type svaras Ga and Ni are not used in aroha. In the Shadava-Sampoorna type svara Ga is not used in aroha

Audava-Sampoorna type has the following aroha and avaroha :

सु रि म प - ध म प सं-सं प ध म प - गू रि ग स - रि नि स

It should be noted that in this type only Tivra Dh should be used. The other svaras are Tivra Ri, Komal Ga, Suddha Ma, and Komal Ni.

The Shadava-Sampoorna type has the following aroha and avaroha :-

नि स रि गू—रि ग म प—स नि सं—स नि ध प—प धू म—गू ध नि स

In the Shadava-Sampoorna type only Komal Dh is used. In addition to the two types described above there are certain other types also of this raga. They are:

(a) Type in which both Dhaivatas are used. But use of Komal Dh is sparingly done.

(b) Type in which only Komal Dh is used but in aroha Tivra Ri and in avaroha Komal Ri are used. This type is called Utari Deshi. This is supposed to be the real Deshi raga.

In raga Deshi there are vakra sanchras in avaroha, Pakad or diagnostic svara groups of this raga are, रि प ग़ - रि स - रि नि .s - ग़. Vadi and Samavadi svaras are Pa and Ri respectively. In this raga svara Dh is kept elongated to destroy the chaya of Asavari raga. Svaragroups रि प ग़र and रि नि स have a special charm. The svara groups सं - ग प धप and सं - प - नि -प धप have also prominent use in this raga. Svaragroup रि म प रि ग़ is used twice as रि म प रि ग़. In this raga poorvanga is supposed to consist of Sarang and uttaranga of Asavari. Popular compositions in this raga are :

Naiyya Mori Bhavay—Ektal (Vilambit)

Goonda Goonda Lavo—Trital (Madhya)

Piya Manale Batiya—Trital (Madhya)

—Shankarao Vyas.

Raga Desi is allied to Hindustani ragas Asavari and Barwa,

Asavari—Dh is not elongated. Svaragroups सं - ग प धप and रि प ग़रs are not used. (See Asavari).

Barwa—Svaragroup प ध सं is used and not ग प सं as in Desi, (See Barwa).

DESHIKA TODI

Karnatak

There is no raga called Desi or Deshi only. There is a raga called Deshika Todi or Deshya Todi whose name suggests Deshi Todi of Hindustani sangeet. But Deshika Todi or Deshya Todi is an entirely different raga. (See Deshika Todi).

In the Karnatak raga Huseni there are certain groups of svaras which remind us of the Hindustani raga Desi. These are प ग रि - ति त्रि स - प ध नि स - ग प म ग़रि (See Huseni).

DESHIKA TODI

Hindustani

There is no raga called Deshika or Deshya Todi in Hindustani sangeet. There is a raga called Desi or Deshi Todi. (See Desi or Deshi Todi). Deshika Todi has no resemblance to the Hindustani raga Deshi Todi. Svaras used in the Karnataka raga Deshika Todi are all Komal svaras of Bhairavi That.

Karnatak

Deshika Todi or Deshya Todi is a janya of the 8th Melakarta, Hanumatodi (ra, gi, ma, dha, ni) which corresponds to Bhairavi That of Hindustani sangeet. Its jati is Shadava-Sampoorna. Svarari is not used in aroha. Aroha and avaroha of Deshika Todi are :-

स ग2 म1 प ध1 नि2—स नि2 ध1 प म1 ग2 रि1 स

Svaras used are Suddha Ri, Sadharana Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :-

स ग म प ध नि स—नि ध प म ग रि स

There is a special sanchara ग प म ग़रि s in this raga. The following compositions in this raga are available.

Raju vedala (Telugu)—Rupaka Tala—Tyagaraja.

Shri Kamalambana (Sanskrit)—Rupaka Tala—

Subbaraya Sastry.

Deshika Todi as rendered at present .has great resemblance to Karnatak raga Todi. It should be sung like Sudda Bhairavi of Hindustani Sangeet.

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RAGANIDHI

DESHKAR

Hindustani

Raga Deshkar belongs to Bilaval That (Dheeras hankara-bharana). Its jati is Audava-Audava. Varja (omitted) svaras are Ma and Ni. Aroha and avaroha of Deshkar are :-

स रि ग प ध स ऽ प ध प ग रि स

Svaras used are all Suddha svaras of Hindustani sangeet. Pakad or Gunjan svara groups are :-

ध - प ध प - ध प रि स or स ऽ प ध प - ग रि स. Nyasa is made on svaras Dh and Pa. Vadi svara is Dh. Samavadi is Ga.

In this raga svara Dh should be brought into prominence as स ध प - ग प ध-ध प - ग रि स Sangati ध प is frequently used. Halt is not made on svara Ga because that svara is important in raga Bhoop which is very much allied to Deshkar having the same svaras as Deshkar in both aroha and avaroha. Deshkar is an uttaranga raga. Sanchaara is mostly in tara and madhya saptaks. Deshkar is a morning raga. (6 a.m. to 9 a.m.). As it is an uttaranga raga the beauty of this raga is seen in its avaroha. It is a popular raga.

Compositions in this raga are :-

Mori Angia ke Band khulagayee—Trital (Vilambit)

Hari Hari Nama Le—Trital (Madhya)

Two important Hindustani ragas which are allied to Deshkar are Bhoop and Jet kalyan.

Bhoop—Poorvanga raga. Vadi svara is Ga. Sangati प ध is used. Evening raga. (See Bhoop).

Jet Kalyan—Vadi is Pa. Sangati प ध is used. (See Jet Kalyan).

Karnatak

There is no raga called Deshkar in Karnatak sangeet. Karnatak raga Mohana having the following aroha and avaroha resembles the Hindustani ragas Deshkar and Bhoop.

स रि ग प ध स ऽ ग प रि स

Mohana is however more like Bhoop than Deshkar. (See Mobana).

DESH MALHAR

DESHI SIMHARAVA

Hindustani

There is no raga called Deshi Simharava in Hindustani sangeet. Karnatak raga Hemavati which corresponds to the old raga Deshi Simharava is being introduced into Hindustani sangeet also. (See Hemavati).

Karnatak

Deshi Simharava is the old name for the 58th Melakarta Hemavati. (See Hemavati).

DESH MALHAR

Hindustani

There are two types of Desh Malhar. One is a combination of ragas Desh and Mia Malhar. The other is a mixture of Desh and Goud Malhar.

TYPE I

This Desh Malhar is a mixture of Desh and Mia Malhar. Its jati is Shadava-Sampoorna. In aroha svara Ga is not used. Aroha and avaroha of this type of Desh Malhar are :-

स रि म प नि स ऽ स प - नि ध - स म ग रि. प ग - म रि स

Pakad or diagnostic svara groups are, रि म प - नि ध प. ध म ग रि - प ग म रि स - ग रि. Svaras used are Tivra Ri, Komal and Tivra Ga, Suddha Ma, Tivra Dh, and both Komal and Tivra Ni. In avaroha svaras Ga and Dh are weak or “durbad”. Angas of Desh and Malhar are found as under.

Desh - aroha—स रि म प. नि स ऽ- avaroha - स नि ध प - म ग रि

Malhar - aroha—नि म प नि ध. नि स ऽ- avaroha - प - ग म रि स

This is a new raga and not yet become popular. It is sung during the rainy season particularly. It is sung during the last prahara of the night. (9 p.m. to midnight).

Compositions in

13

14 RAGANIDHI this type of Desh Malhar are :– Eso Ayo Savana–Ada Choutal (Vilambit). Ayo Savana Masa–Trital (Madhya).

TYPE II The second type of Desh Malhar is a mixture of Desh and Goud Malhar. Its jati is Shadava-Sampoorna. In aroha svara Ga is not used as in type I. Aroha and avaroha of this type of Desh Malhar are :–

स रि म प नि सं ध प म प ध सं—स नि ध प म ग रि म रि ध प म प म ग रि ग स

Pakad or diagnostic svara groups of this type of Desh Malhar are :–

रि म प नि ध प म प ध नि—ध प म रि प ध प ध म ग रि ग स

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh, and both Komal and Tivra Ni. Sangatis रि प and म रि are used frequently. Svara Ma is kept elongated as in Goud Malhar. It is also kept isolated to create a special effect. This type is also a “ Mosami ” raga (seasonal) meant for rainy season. It is sung during the second prahara of night.

Angas of Desh and Goud Malhar are found as under :– Desh—स रि म प नि ध प म ग रि न स ध प म प नि ध प म ग रि ना स

Goud Malhar—म ग रि स रि म प ध नि सं ध प म प म ध नि स—रि प म प ध नि स रि ग म ड

Sometimes instead of Goud Malhar, raga Suddha Malhar is mixed with Desh to give rise to Desh Malhar.

Karnatak There is no raga called Desh Malhar in Karnatak sangeet. There is no Karnatak raga which resembles type I of Desh Malhar. Raga Kedara gaula of south has some resemblence to type II of Desh Malhar. (See Kedara gaula).

15 DEVADHAIVAT DESHYAGANAVARIDHI Hindustani There is no raga called Deshyaganavaridhi in Hindustani sangeet. There is no Hindustani raga which is allied to this raga. In the aroha of this raga there is a chaya of Malhar. In the avaroha there is à touch of Madhuvanti. Malhar chaya is प ध नि and Madhuvanti chaya is प म ग रि स.

Karnatak Deshyaganavaridhi is a janya of the 60th Melakarta Nitimati (ri, gi, mi, dhu, nu). It is a Sampoorna-Shadava raga. Svaras Dh is omitted in avaroha. Its aroha and avaroha are :

स रि ग म प ध नि स—स नि सं प म ग रि स 2 3 3 3 9 9 9

Svaras used are Chatusruti Ri, Sadharana Ga, Prati Ma, Shatsruti Dh and Kakali Ni. Svara Ni is given a vakra sanchara in both aroha and avaroha.

According to Hindustani notation aroha and avaroha are :

स रि ग म प नि स—स नि प म ग रि स

This is an unfamiliar raga. The following composition in this raga exists :

Neeve Na Talli Tandri Vani (Telugu)—Adi Tala Tiruvotriyur Tyagaraja.

DEVADHAIVAT Hindustani This raga has been introduced by Baburao Kaslikar. In this raga chayas of Bhairav, Ahir Bhairav, and a slight touch of Jogia ragas are found. Its jati is sampoorna-sampoorna. Aroha and avaroha of Devadhaivat are :

स रि ग म प ध नि स

Svaras used are both Komal and Tivra Ri, Tivra Ga, (sometimes Komal Ga with Tivra Ri is permitted as रि ग) Suddha Ma, both Komal and Tivra Dh, and Komal Ni. Vadi svara is Ma, Samavadi is Sa. Devadhaivat is sung with Bhairav anga. To remove the chaya of Ahir Bhairav from dominating over Bhairav, Komal Dh is used in a special way as ग म ध. Jogia chaya is brought in by using ग म रि. This raga is sung during the first prahara of the day (6 A.M. to 9 A.M.). This raga has not become popular yet, Compositions in this raga are :

Ada Mahadeva Tu More—Ek Tal (Vilambit)—Baburao Kaslikar.

Sakala Guni Jana - Trital (Drut)—Baburao Kaslikar.

Karnatak

There is no raga called Devadhaivat in Karnatak sangeet. There is no Karnatak raga which resembles Devadhaivat.

DEVAGANDHAR

Hindustani

Devagandhar belongs to Asavari That (Natabhairavi). There are three types of this raga. None of them is very popular.

TYPE I

This is a Shadava-Sampoorna type. Svaras Ri is not used in aroha. Aroha and avaroha of this type are :

स ग म प ध सं नि स रि सं दि नि प म ग रि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Komal Dh, and Komal Ni. Diagnostic svara groups of this type are

म म प ध प सं नि धू प म प रि सं नि प धू म प ग रे स.

Vadi and Samavadi svaras are Dh and Ga respectively. In this type there is a chaya of Dhanashree in aroha. Chalan or gati of this raga is more in uttaranga. Hence rendering is more in madhya and tara saptaks. This is a morning raga. A composition in this type of Devagandhar is :-

Yeriye Bake Payana Sajani—Trital (Madhya).

TYPE II (Called Gandhari and Dvigandhari)

Jati of this type is Shadava - Sampoorna. In aroha svara Ga is omitted. As both Komal and Tivra Ga are used in avaroha giving a peculiar beauty this type is called Dvigandhari. Aroha and Avarhoa of this type are :-

सरि म प धू प नि सं सं नि ध प म ग रि स नि स

ग म प ग रि स.

Note सं रि ग म in avaroha where Ga is Tivra. This is a morning raga. A composition in this raga is :-

Aj Sunavo Jasa Guna Gana—Trital (Madhya) --S. N. Ratanjankar.

TYPE III (Also called Dvigandhari)

Jati of this type is Sampoorna - Shadava. In avaroha svara Ma is omitted. In this type Tivra Ga is used in aroha and Komal Ga in avaroha. This also produces almost the same effect as in type II which is also called Dvigandhari. It sounds beautiful. Its aroha and avaroha are :-

स रि ग म प धू प नि धि सं सं द्‌ नि ध म ग रि ग स.

Vadi svara is Ga. Samavadi is Dh. This is also a morning raga. A composition in this type of Devagandhar is :-

Raina Ki Jage Ayee—Ek Tal (Vilambit).

Hindustani ragas which are allied to Devagandhar are Jounpuri, Asavari (with Tivra Ri) and Gandhari.

Jounpuri—Ga is not used in aroha. Only Komal Ga is used. (See Jounpuri).

Asavari—Ni is not used in aroha. Only Komal Ga is used. (See Asavari).

3

18

RAGANIDHI

Gandhari—One type corresponds to Type III of Devagandhar.

In another type of Gandhari, Komal Ri is also used. (See Gandhari).

Karnatak

There is a raga called Devagandhari in Karnatak sangeet.

This raga does not resemble any of the types of Devagandhar of Hindustani sangeet.

According to Hindustani notation aroha and avaroha of Karnatak raga Devagandhari are:-

सा रि म प ध सं — सं नि ध प म ग रिडस्.

(See Devagandhari.)

DEVAGANDHARI

Hindustani

There is no raga called Devagandhari in Hindustani sangeet. There are ragas called Devagandhar, and Gandhari which have no resemblance to the Karnatak raga Devagandhari.

Hindustani raga Arabhi (which itself is imported from the south) resembles Devagandhari. (See Arabhi).

Karnatak

Devagandhari is a popular raga. It is a janya of the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, ;nu) which corresponds to Bilaval That of Hindustani sangeet. It is an Audava-Sampoorna raga. In aroha svaras Ga and Ni are not used. Some consider it Shadava-Sampoorna and omit only Ga in aroha. Its aroha and avaroha are:-

सा रि2 म1 प ध2 सं । (Audava) or स रि2 म1 प ध2 संि3 सं (Shadava)—सा रि2 म1 प ध2 संि3 रि2 स

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatsruti Dh, and Kakali Ni. According to Hindustani notation the aroha and avaroha are :-

सा रि म प ध सं or स रि म प धनि सं — सं नि ध प म ग रिडस्.

Although Kakali Ni is used there is one prayoga ( ध निस प म ग रि ) in which Kaisiki Ni (Komal Ni) is used in

19

DEVAGANDHAR TODI

an elongated way. This prayoga has now become a raga chaya group of Devagandhari and distinguishes it from the allied ragas Arabhi and Sama. Jeeva svaras of Devagandhari are Ri, Ma, and Dh. These svaras are kept elongated and prominent in avaroha. They sound beautiful. Popular compositions in Devagandhari are:-

Ksheerasagara Sayana (Telugu)—Adi Tala—Tyagaraja.

Na moralagimpa (Telugu)—Rupaka Tala—Tyagaraja.

Ragas Sama and Arabhi are allied to Devagandhari.

Arabhi—Some do not use Ni in even avaroha. Svaras Ni, Ma, and Ri are not elongated. Kaisiki Ni is not used. (See Arabhi).

Sama—-Svara Ni is not used. Svaras Ma and Ri are elongated. (See Sama).

DEVAGANDHAR TODI

Hindustani

This is a kind of Todi raga in which both varieties of Ri, both varieties of Ga and both varieties of Dh are used. This raga is different from Gandhari. Its jati is Sampoorna-Sampoorna. Aroha and avaroha are:-

सा रि1 म प ध नि सं — ध नि सं-हिं नि ध प म प ध नि सं — हिं रि2 प ध म — प ग2 रि2 - ग2 म1 रि1 - ध1 - स.

Vadi svara is Sa. Samavadi is Pa. This raga is sung in the morning.

Devagandhar anga consists of : स रि ग म - प धनि सं and रि सं.

Todi anga consists of : रि नि ध प - ध म - प ग2 रि2 - स.

A composition in this raga is,

Raga Rasa Ko Bheda Nyaro—Trital (Madhya)

—S. N. Ratanjankar.

Karnatak

There is no raga called Devagandhar Todi in Karnatak sangeet. There is no Karnatak raga which resembles Deva gandhar Todi of north.

20

RAGAÑIDHÍ

DEVAGIRI

Hindustani

This raga is also known as Devagiri Bilaval. Devagiri Bilaval belongs to Bilaval That (Dheerasankararabharana). It is a Shadava-Sampoorna raga. Svara Ma is not used in aroha. Aroha and avaroha of Devagiri Bilaval are :-

ष · नि · स · रि · ग · ग रि · न प · ध सिध · निसं · सं नि ·

ष · नि · ग · म ग · म रि · स नि · स · नि प · स

Pakad or Gunjan svara groups are:-स · रि · (प) · म ग · प

ध · नि · प · धि · रि · स · रि. All svaras are suddha svaras of Hindustani sangeet. Komal Ni is occasionally used in the special svara group नि धि प. Vadi svara is Sa. Samavadi is Pa. There are vakra sancarhas in both aroha and avaroha. In this raga angas of Bilaval, Kalyan, and Suddha Kalyan are found. But Tivra Ma is not used. The commencement of this raga is with Kalyan anga as नि · प् · ध · नि · स · रि · ग · ध नि स ·

रि ग म. Suddha Kalyan anga is found in the following svara groups. स नि प् · प् · रि ग् - प रि ग स

in uttaranga in both aroha and avaroha as प ध · प नि से or ध नि प

नि सं · नि ध · नि प. Vistara of this raga sounds beautiful in mandra and madhya saptaks. Svara Ga is an important and beautiful halting or Vishranti svara. While singing Devagiri the following svara groups should be used frequently. नि प् ध स ·

ष रि ग र. This raga is sung in the morning. Compositions in Devagiri Bilaval are :-

Dhanya Ai Maharaja—Ek Tal (Madhya)

—S.N. Ratanjankar.

Ladali Pyari Radhika—Trital (Madhya)—J.D. Patki.

Hindustani raga Alaiyya Bilaval resembles Devagiri Bilaval.

Alaiyya Bilaval—Kalyan and Sudda Kalyan angas are not found. (See Alaiyya Bilaval)

Karnatak

In Karnatak sangeet also there is a raga called Devagiri. It is a janya of the 49th Melakarta, Dhavalambari (ra, gu,

21

DEVAKRIYA

mi, dha, na). It is Audava-Sampoorna with svaras Ga and Ni omitted in aroha. Its Aroha and avaroha are:-

स रि1 म3 प ध1 सं—सं नि2 ध1 प म2 ग3 रि1 ग2 स.

Svaras used are Suddha Ri, Antara Ga,1 Prati Ma, Suddha Dh and Suddha Ni. According to Hindustani notation the aroha and avaroha are,

स रि म1 प ध सं—स धु प म1 ग रि ग स.

Tivra Dhi stands for Suddha Ni of Karnatak sangeet. Karnatak raga Devagiri is an unfamliar raga. This raga has no resemblance to the Hindustani raga Devagiri or Devagiri Bilaval. Karnatak raga Navarojuin which is a janya of the 29th Melakarta Dheerasankararabharana (Bilaval That) has great resemblance to Devagiri Bilaval of north. Aroha and avaroha of Navaroju are :

पु ड़ नि स रि ग म प - ग रि स नि ध प.

Pillayar Gita in raga Navaroju commencing with the words “Giridhara mamava ” sounds very much like Devagiri Bilaval. (See Navaroju).

DEVAKRIYA

Hindustani

There is no raga called Devakriya in Hindustani sangeet. Koushi Kanada of Asavari That (Natabhairavi) has some resemblance to Devakriya of south. Aroha and avaroha of this type of Koushi Kanada are :

नि, स · म ड़ · म ग - प धु · म नि · यु · नि स - म ग रि स · नि ध प

• प धु - म ग रि स. (See Koushi Kanada).

Karnatak

Devakriya is a janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which·corresponds to Asavari That of Hindustani sangeet. According to some this is a Nishadantya raga, jati being Shadava-Sampoorna. In aroha svara Pa is not used. Aroha and avaroha of Devakriya of this type are :

स रि2 ग2 ध1 म2 ध1 नि2—प ध1 म1 म2 ग2 रि2 ग2 नि2

22 RAGANIDHI Svaras used are chatushruti Ri, Sadharana Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :—

स रि गु म नि धु नि - पधम गु रि स नि.

It is the above type which resembles Koushi Kanada of north.

Tyagaraja Kriti, Nati Mati Marachitivo in raga Deva-kriya shows a different svaroop of this raga. After many discussions during the Music Conferences the Madras Music Academy has suggested that Devakriya, although a janya of Natabhairavi, may be permitted to use Chatusruti Dh prayoga,

Aroha and avaroha fixed by the Music Academy Madras are :

स रि2 म1 प ध2 नि2 स — स नि2 ध1 म1 प म2 रि2 स. (ध2 also permitted). According to Hindustani notation they are :

स रि म प नि स — स नि धु नि प म गु रि स.

A composition in this type of Devakriya is :—

Nati Mati Marachitiyo (Telugu)—Adi Tala—Tyagaraja.

Raga Devakriya of Dikshitar school corresponds to the very popular Suddha Saveri of the south. It is a janya of the 15th Melakarta Mayamalavagaula (Bhairav That). Muthuswamy Dikshitar’s kriti “Sri Guruguhå Tarayasumåm ” is in raga Devakriya which corresponds to the present day Suddha Saveri raga. (See Suddha Saveri).

Some musicologists place Devakriya under the 22nd Melakarta Kharaharapriya (Kafi That). Aroha and avaroha mentioned are :

स गु रि गु म प ध नि स —स नि ध प म गु रि गु स.

According to Hindustani notation they are :

स गुरि गुम प धनिस — सं निषपमगु रि गुस.

There are vakra sancharas in both aroha and avaroha.

DEVAMANOHARI Hindustani There is no raga called Devamanohari in Hindustani sangeet. One of the types of Badahams or Badahamsa Sarang resembles Devamanohari raga of the south. This type of

23 DEVAMRITAVARSHINI OR NADACHINTAMANI Badahamsa Sarang has the following aroha and avaroha.

स रि म प ध नि स — सं निष ध1 प म रि स.

(See Badahams).

Karnatak Devamanohari is a popular Karnatak raga. It is a janya of the 22nd Melakarta Kharaharapriya. (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani.1 It is a Shadava- Shadava raga. Svara Ga is omitted in both aroha and avaroha. Aroha and avaroha of Devamanohari are :

स रि2 म1 प ध2 नि2 स — स नि2 ध2 म1 प म1 रि2 स.

Svaras used are Chatushruti Ri, Suddha Ma, Chatusruti Dh and Kaisiki Ni. There is vakra sanchara in avaroha which should be carefully noted. This vakra sanchara स नि2 ध2 is very important and sounds beautiful. According to Hindustani notation aroha and avaroha of Devamanohari are :

सरि म पध निस — स निधि प म रि स.

Chatushruti Ri, Suddha Ma and Kaisiki Ni are the chhaya svaras of Devamanohari raga. Popular compositions in this raga are :—

Kanna Tandri Na Pai (Telugu)—Adi Tala—Tyagaraja, Palukavademira Rama (Telugu)—Adi Tala—Mysore Vasudevachar.

Neekelara (Telugu)—Adi Tala—Ramnad Srinivasa Iyengar.

DEVAMRITAVARSHINI or NADACHINTAMANI Hindustani There is no raga called Devamritavarshini or Nadachintamani in Hindustani . Svaras used in this Karnatak raga are those of Kafi That of north.

Karnatak Devamritavarshini (also called Nadachintamani) is a janya of the 22nd Melakarta, Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani sangeet. It is a

24

RAGANIDHI

Shadava-Sampoorna raga with vakra sanchara in aroha. In aroha svara Pa is omitted. Aroha and avaroha of this raga are :

स रि2 ग2 म1 नि2 ध2 नि2 स—संनि2 ध2 प म1 ग2 रि स.

Svaras used are Chatusruti Ri, Sadharana Ga Suddha Ma, Chatsruti Dha and Kaisiki Ni. According to Hindustani notation they are :

स रि ग म नि ध नि स—संनि ध प म ग रि स

Ma, Dh, and Ni are the jiva svaras. Svaragroups स ग म and सं ध नि प are used occasionally.

Although raga Devanpritavashini is nota popular one, the following composition in this raga is very often heard.

Evari Ni (Telugu)—Adi Tala—Tyagaraja.

DEVANAND or DEVANANDINI

Hindustani

This is a newly introduced raga. It is a pleasing one and deserves to be popularised. Devanand or Devanandini belongs to Marwa That (Gamanasrama). Its jati is Audava—Audava. Svaras Pa and Ni are not used in this raga. There is vakra sanchara in aroha. Aroha and avaroha of Devanand are:

स रि ग - रि - म1 ग म1 ध म1 — स - ध - स रि - ग म1 रि सं स - म1 ग रि स ध - म1 ध स

ध - स रि - ग रि स - रि स - ध - स

Svaras used are Komal Ri, Tivra Ga, Prati Ma and Tivra Dha. Pakad or diagnostic svara groups are :

Vadi and samavadi svaras are Ga and Ni respectively. This raga is sung in the evening. In this raga chayase of Marwa and Hindol ragas are found at every stage. It is by alternately using the angas of these two ragas that the danger of completely running into any one of them is avoided. Compositions in Devanandini are :-

Yeri Basanta Ritu—Ek Tal (Vilambit).

Aye More Mandarawa—Trital (Madhya).

25

DEVARANJANI

Avo Avo Nanda Lal—Trital (Madhya).

Devanand is allied to Hindustani ragas Marwa and Hindol. Marwa—Svara Ni is used. Vadi svara is Ri. (See Marwa). Hindol—Svara Ri is not used. Svara Ni is used in avaroha. (See Hindol).

Karnatak

There is no Karnatak raga called Devanand or Devanandini. There are two Karnatak ragas, Hamsanandi and Sunadavinodini which have some resemblance to Devanandini of north. Aroha and avaroha of these two ragas are,

Hamsanandi,—स रि ग म1 ध नि सं — संनि ध म1 ग रि स. Svara Ni is used. (See Hamsanandi).

Sunadavinodini—स ग म1 ध सं—सें नि ध म1 ग स. Svara Ri is not used. Svara Ni is used in avaroha. (See Sunadavinodini).

The similarity among the names Devanandini, Hamsanandi, and Sunadavinodini suggests some similarities among them.

DEVARANJANI

Hindustani

There is no Hindustani raga called Devaranjani. There is a raga called Devaranji which belongs to Bhairav That. That raga has no resemblance to Devaranjani of south.

Devaranjani is an interesting raga and can be popularised in the north. Aroha and avaroha of Devaranjani are :

स ग रि म प ध नि सं — सं ध प म ग रि स.

It comes uuder Kafi That (Kharaharapriya). Vakra sanchara स ग रि म in aroha and elongation of svara Ga in avaroha as म ग रि स are beautiful and are characteristic of this raga. Its jati is Sampoorna-Shadava. Svara Ni is not used in avaroha.

Two ragas Manohari and Sivaranjani resemble Devaranjani.

Manohari—Svara Ni is not used in either aroha or avaroha. Ga is not elongated. (See Manohari).

4

26

RAGANIDHI

Sivaranjani–Svaras Ma and Ni are not used, (See Sivaranjani).

Similarity between the two names Devaranjani and Sivaranjani is interesting.

Karnatak

Devaranjani is a janya of the 22nd Melakarta Kharaharapriya (ri, gi ma, dhi, ni) which corresponds to Hindustani Kafi That. It is a Sampoorna-Shadava raga with vakra sanchara in aroha. In avaroha svara Ni is not used. Aroha and avaroha of Devaranjani are :

स ग3 रि2 ग2 म1 प ध2 नि सं — सं ग2 रि2 ग2 म1 ग रि2 स

Svaras used are Chatsuruti Ri, Sadharana Ga, Suddha Ma, Chatsuruti Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

स ग म प ध नि सं — सं ग प म ग रि स

Vakra sanchara in aroha and elongation of svara Ga in avaroha produce a beautiful effect. Although this is a pleasing raga it is not popular.

Raga Manohari which is also a janya of Kharaharapriya resembles Devaranjani. (See Manohari).

Devaranjani in entirely different from Devaranji or Devaranjini (See Devaranji).

Another raga also called Devaranjani is a janya of the 28th Melakarta Harikamboji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Its aroha and avaroha according to Hindustani notation are :

स रि ग म प ध सं — सं ग प म ग रि स

This sounds like raga Bilahari with svara Ni omitted in avaroha. (See Bilahari).

DEVARANJI or DEVARANJINI

Hindustani

Devaranji, also called Devaranjini belongs to Bhairav That (Mayamalavagaula) It is an Audava-Audava raga with vakra sanchras in both aroha and avaroha. Svaras Ri and Ga are

27

DEVARANJI OR DEVARANJANI

omitted in this raga. Aroha and Avaroh of Devaranji are :

स म म प धू प धू प सं नि सं — सं श् नि श् प म स

Svaras used are Suddha Ma, Komal Dh, and both Komal and Tivra Ni. Tivra Ni is used only slightly in aroha in the sanchara धू प सं. Pakad or diagnostic svara groups

are ध प म पडम — ध नि धू प म — म सऽ. Vadi and Samavadi svaras are Sa and Ma. This raga is sung in the morning.

In this raga its uttaranga is “prabal” or prominent. Halt on svara Ma as म सऽ and the meend (Curve slide) from Ma to Sa as म सऽ are beautiful. This is a very appealing raga. Yet it is not popular. Compositions in raga Devaranjini are

Trividha Gamani Tihu–Jhaptāl,

Yesi Ko Gund Khani–Ek Tal (Vilambit)

—S.N. Ratanjankar.

Hindustani ragas Jhilif (one type) and Jogia have resemblance to Devaranji.

Jhilif (one type)–Svara Ni is not used in aroha (See Jhilif).

Jogia–Svara Ri is prominent in both aroha and avaroha. (See Jogia).

Karnatak

Devaranji is a janya of the 15th Melakarta Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Hindustani Bhairav That. Its jati is Audava-Audava with vakra sanchara in aroha. Svaras Ri and Ga are omitted in both aroha and avaroha. Aroha and avaroha of Devaranji are :

स म1 प ध1 प ध1 नि3 से — स नि3 ध1 प ध1 प म1 स

Svaras used are Suddha Ma, Suddha Dh and Kakali Ni. According to Hindustani notation they are :

स म प ध प नि से — सं नि ध प म स.

A composition in raga Devaranji is,

Namaste Paradevate (Sanskrit)—Trisra Eka Tala

—Muthuswamy Dikshitar.

Karnatak raga Devaranji resembles the Hindustani raga

Devaranji or Devaranjini. In Karnatak Devaranji, Komal Ni is not used. In Hindustani Devaranji or Devaranjini, Komal Ni is used in avaroha in a very prominent way.

DEVASAKH

(Also called Deshakya or Deshakshi)

Hindustani

Devasakh (also known as Deshakhya or Deshakshi) belongs to kafi that (Kharaharapriya). Its jati is Audava-Shadava. Svaras Ri and Dh are omitted in aroha. In avaroha svara Dh is omitted. Aroha and avaroh of Devasakh are :-

नि स ग म प नि ध प - स - नि ध प म ग रि स

There are vakra sancharas in both aroha and avaroha. Svaras used are Tivra Ri, Komal Ga, Suddha Ma, and Komal Ni. Pakad or Gunjan svara groups consist of :-

नि स ग प नि ध नि स रि स. Vadi svara is Pa. Samavadi is Sa. Some suggest the reverse arrangement. Sangathi नि ध प is pleasing. Svara groups नि ध - नि ग प should be used frequently. Svara Ma is kept isolated in avaroha. Devasakh is sung during the second prahara of the day (9 a.m. to 12 noon). Devasakh is considered to be a mixture of Kanara and Megh ragas. Some musicians introduce svara Dh slightly in this raga. It is better not to use Dh. In Devasakh angas of ragas Malhar, Sarang, and Kanada are found as under. Malhar-रि प - म प - प ध नि म. Sarang-प ध - म रि स. Kanada-नि प - स - गु म रि स. Although sangathi नि ध प is frequently used sangathi रि प is also introduced in Malhar anga. Compositions in raga Devasakh are :-

Piya Bina Jeeya Ghabarave-Jhaptal (Madhya).

Ankhiyan Lag Rahi Mori-Trital-Adarang.

Hindustani ragas Suha and Sugharayee resemble Devasakh. Suha-Svara groups नि ध - नि ग प are not used. (See Suha) Sugharayee-Svara groups नि ध प - नि ध प are not used. Tivra Dh is used as वादी (Vadi). (See Sugharayee).

There is no Karnatak raga called Devasakh or Deshakhya. There is no Karnatak raga which resembles Devasakh. There is a Karnatak raga called Deshakshi. But this raga has no resemblance to Devasakh or Deshakhya of Hindustani sangeet. (See Deshakshi).

DHALI VARALI

Hindustani

There is no Hindustani raga called Dhalivarali. There is no Hindustani raga which resembles Dhalivarali in its poorvanga which has the peculiar sanchara रि ध रि म. There are many Hindustani ragas which have in their uttaranga the svaras of Dhalivarali म प धु नि सं.

Karnatak

Dhalivarali is the name given by Dikshitar School for the 39th Melakarta Jhalavarali. (ra,ga, mi, dha, nu). Raga Dhali-varali is a Sampoorna-Sampoorna raga with vakra sanchara in aroha. Aroha and avaroha of this raga are :-

स ग1 रि1 म2 प ध1 नि3 सं—सं नि3 ध1 प म2 ग1 रि2 स

Svaras used ara Suddha Ri, Suddha Ga, Prati Ma, Suddha Dh, and Kakali Ni. According to Hindustani notation they are :

स रि ध रि म प ध स—सं नि ध प म रि स.

In the above, Tivra Ri (रि1) stands for Suddha Ga (ग1) of Karnatak system. Dhalivarali is not a popular raga. A composition in this raga is

Mamava Meenakshi (Sanskrit)—Mishra Eka Tala —Muthuswamy Dikshitar.

DHANA KAPI

Hindustani

There is no Hindustani raga called ‘Dhana Kapi. This kind of Kapi of south is a mixture of the Hindustani ragas Gara and Kafi.

30

RAGANIDHI

Karnatak

Dhana Kapi is a pleasing raga. This raga is not mentioned in any of the books on music. It is a kind of Kapi with a mixture of Hindustani ragas Gara and Kafi. Its jati is Sam-poorna.

Sanchara of this raga is something like this :-

गू रि स - नि धू - नि स - रि गू - रि - नि धू नि - प धू - म प - गू रि - सड़नि धू नि सड़ - रि गू रि

नि धू - नि धू - मड़ - प धू नि सं - नि धू प - म प धू पव - ग ग म ग म - रि म गू रि - सड़नि प्रू नि सड़

Svaras used are Chatusruti Ri, both Sadharana and Antara Ga, Suddha Ma, both Suddha and Chatsruti Dh and both Kaisiki and Kakali Ni. This raga is appealing when sung with Madhyama sruti. The following is the only composition in this raga which is popular.

Jagadoddharana Adisidalu Yeshoda (Kanarese)

—Ādi Tala— Purandara Dasa.

DHANASARI or DHANASHREE

Hindustani

There are four types of Dhanasari or Dhanashree raga with (1) Bhimpalas anga, (2) Bhairavi anga (3) Patadeep anga and (4) Bilaval anga.

TYPE I

Dhanasari (Bhimpalas anga).

This type of Dhanasari belongs to Kafi That-(Kharahara-priya). Its jati is Audava-Sampoorna. In aroha svaras Ri and Dh are omitted. Aroha and avaroha of Dhanasari (Bhimpalas anga) are,

नि स ग म प नि सं—स नि ध प म ग रि स

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh and Komal Ni. Vadi svara is Pa, Samvadi is Sa. Sangati गू रि स is frequently used. Svaragroup प गू रि स should be used frequently and not म गू रि स. Halt should not be made on svara Ma. The above mentioned care has to be taken to keep clear

31

DHANASARI OR DHANASHREE

of raga Bhimpalas which is closely allied. This type of Dhanasari is sung during the third prahara of the day. A composition in this raga is :-

Manaki Umang Maname—Ek Tal (Madhya).

—S. N. Ratnajankar.

Raga allied to Dhanasari (Bhimpalas anga) is Bhimpalas itself.

Bhimpalas—Vadi svara is Ma. Svaragroup म गू रि स is used frequently. Halt is made on svara Ma as नि सगम

Karnatak

Karnatak raga Dhanasari (also called Dhanyasi) does not resemble the Dhanasari (Bhimpalas anga) of Hindustani sangeet. Karnatak ragas Abheri and Karnatak raga called Karnataka Devagandhari (not the popular raga Devagandhari) resemble Dhanasari (Bhimpalas anga). Raga Abheri has the following aroha and avaroha

स गू म प नि सं—स नि धू प म गू रि स

(See Abheri).

Raga called Karnataka Devagandhari also has the same aroha and avaroha as Abheri of the present day with Chatusruti Dh.

According to Dikshitar School, Dhanyasi is a janya of Natabhairavi. This type of Dhanyasi is something like Dhanasari with Bhimpalas anga but with Komal Dh. Its aroha and avaroha are :-

नि स गू म प नि सं—स नि धू प म गू रि स

(See Dhanyasi)

Type II

Dhanasari (Bhairavi anga)

Hindustani

This type of Dhanasari belongs to Bhairavi That (Hanumatodi). Its jati is Audava-Sampoorna. Svaras Ri and Dh are not used in aroha. Aroha and avaroha of this type of Dhanasari are,

नि स गू म प नि सं—स नि धू म प गू रि स

There are vakra sancharas in avaroha. Svaras used are all Komal svaras of Bhairavi That. Hence this raga is also called Komal Dhanasari. This type is not commonly sung.

Karnatak

The popular type of raga Dhanasari or Dhanyasi of Karnatak is exactly like the Komal Dhanasari (Bhairavi anga) of North. Aroha and avaroha of this type of Dhanasari or Dhanyasi of Karnatak are.

स गू़ड म प धि सं—सं धि प म गू़ड रि स

(See Dhanyasi).

TYPE III

Dhanasari (Patadeep anga).

This type of Dhanasari has come to be called Patadeep at present. This is a recent change. Old svaroop of Patadeep was different (See Patadeep). Aroha and avaroha of Dhanasari (Patadeep anga) are :

नि ल् गू म प धि सं—सं नि ध प म गू रि स

This type is obtained by merely substituting Tivra Ni in place of Komal Ni in Dhanasari (Bhimplas anga). Compositions in this raga are :-

Kouna Sukha Payee—Jhap Tal (Madhya).

Piya Nahi Aye—Tri Tal (Madhya).

Karnatak

There is no Karnatak raga which corresponds to the above type of Dhanasari. Present day Patadeep of North which corresponds to Dhanasari (Patadeep anga) is also becoming popular in the South as Patadeep.

TYPE IV

Dhanasari (Bilaval anga)

Hindustani

This type of Dhanashree is found in the folk song called “Shubh” of Rajasthan. Jati of this type is Shadava-Sampoorna. Svar Ri is not used in aroha. Aroha and Avaroha of this type of Dhanasari are :

स ग म प ध नि सं—सं नि ध प म ग रि स

स ग म प ध नि—सं नि ध प म ग रि स

All svaras are suddha svaras of Hindustani sangeet. Pakad or diagnostic svara groups are न् - स ग म - ग रि स म - नि षपम or प - स म - ग रि स म - नि धपम

Vadi svara is Pa. Samavadi is Sa. Although Pa is Vadi, Ma is an important svara in this raga. Sangathi म ध is frequently used. This raga is supposed to have Sringara rasa. It is sung in the evening time. Chalan of this type of Dhanasari is as under:-

नि - रि नि गू़ड - गू म - मु नि - प नि - ग रि स - रि स। पु नि स ग - स म ग - म रि स नि - स ग रि स। प नि रि नि धप - म नि ध - म नि सं - स नि धपम - नप ध प म प

म ग - ग म प - म प - स ग - न ग म प रि स

A composition in this type of Dhanasari is :-

Aseva Ana Mol Rantha Viramaye—Ek Tal (Vilambit).

Karnatak

There is no Karnatak Raga which resembles the above mentioned type of Dhanasari.

DHANI

Hindustani

Dhani belongs to Kafi That (Kharaharapriya). Its jati is Audava-Audava. Varja (omitted) svaras are Ri and Dh. Aroha and avaroha of raga Dhani are :

स ग म प नि—सं नि प म ग स.

Svaras used are all Komal svaras. Pakad or Gunjan svara groups are:-नि स - रे ग म - गू म - प नि म प - गू म स। Vadi svara is Ga and Samvadi is Ni. This raga is sung during the third prahara of the day (12 noon to 3 p.m.). In this raga Ga should be brought into prominence. Sometimes svara Ri which is strictly speaking,varja is slightly touched in a special prayoga गू़ड रि नि स ग़। Ri touched is Tivra. Prakriti of this raga is “chanchal.” It is not considered a high class raga. It comes under “Kshudra” ragas or degraded ragas and is used for singing Thoomris and other light music. It is however a very pleasing raga. Compositions in this raga are :-

Jhalakayee Kahe Mori—Trital (Madhya).

Mori Kara Pakarata—Trital (Madhya).

Hindustani raga Bhimpalas is allied to Dhani.

Bhimpalas—Prakriti is of gambhirata. It is a high class raga.

In avaroha Dh and Ri are used (See Bhimpalas).

Karnatak

There is no Karnatak raga called Dhani. Karnatak ragas

Udayaravichandrika and Suddhadhanyasi resemble Dhani.

But in these ragas svara Ri is never touched. Aroha and

avaroha of ragas Udayaravichandrika and Suddha dhanyasi

are :

Udayaravichandrika :—स गु म प ध नि सं—सं नि ध प म गु स. (See

Udayaravichandrika).

Suddhadhanyasi : स गु म प ध नि सं—सं नि ध प म गु स. (See

Suddhadhanyasi).

DHANYA DHAIVAT

Hindustani

This raga has been introduced by J. D. Patki. Dhanya

Dhaivat belongs to Marwa That (Gamanashrama). It is an

Audava-Audava raga. Svaras Ma and Ni are not used in this

raga. Aroha and avaroha of Dhanya Dhaivat are:

स 􀁵􂄢􀂄􂀕􂀖􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃 स 􀁵􂄢􀂄􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃. Svaras used are Komal Ri, Tivra Ga, and Tivra Dh. Pakad

or Gunjan svara groups are:-

स 􀁵􂄢􀂄􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃 स 􀁵􂄢􀂄􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃 स 􀁵􂄢􀂄􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃. Vadi

svara is Dh. Samvadi is Komal Ri. This raga is sung in the

morning. This raga sounds like a mixture of Bibhas and

Deshkar. Chaya of Deshkar is removed by the use of Komal Ri.

Sangatis सं प and ण प are frequently used. Svaragroup स 􀁵􂄢􀂄􂀕􁂃 is a feature of this raga. So also ण 􀁵􂄢􀂄􂀕􁂃􀄢􀂀􂀕􂄢􀄩􂀕􁂃 स.

Compositions in this raga are :

Raina ki Jagi Mai To—Ek Tal (Vilambit)—J. D. Patki.

Aye Bahar Sakhi Phulaki—Tri Tal (Madhya)—J. D. Patki.

DHANYASI OR DHANASHREE

Karnatak

There is no Karnatak raga called Dhanya Dhaivat. There

is no raga which resembles Dhanya Dhaivat of north. If in

raga Mohana instead of Chatsruti Ri, Suddha Ri is used,

then a raga resembling Dhanya Dhaivat is obtained. Mohana

has the following aroha and avaroha according to Hindustani

notation. सु िन प ध सं—सं ध प िन स (See Mohana).

DHANYASI or DHANASHREE

Hindustani

One type of Dhanasari or Dhanashree with Bhairavi anga

(Komal Dhanasari) closely resembles the Karnatak raga

Dhanyasi or Dhanashree which is derived from the Karnatak

Melakarta raga Hanumatodi which corresp hnds to Bhairavi

That. Aroha and avaroha of Komal Dhanasari are :

स ग प िन स—स िन ध प म ग रि स.

(See Dhanasari with Bhairavi Anga).

Karnatak

There are two tvpes of the raga called Dhanyasi or

Dhanashree. One type is derived from Hanumatodi Melakarta

and the other from Natabhairavi Melakarta.

TYPE I

This is the popular type of Dhanyasi which is a janya of the

8th Melakarta Hanumatodi (ra, gi, ma dhi ni) which corres-

ponds to Bhairavi That of Hindustani . Its jati is Audava-

Sampoorna. Svaras Ri and Dh are not used in aroha. Aroha

and avaroha of this type are:-

स ग2 म1 प िन2 सं—सं िन2 ध1 प म1 ग2 रि1 स

Svaras used are Suddha Ri, Sadharana Ga, Suddha Ma,

Suddha Dh and Kaisiki Ni. According to Hindustani notation

they are :-

स गु􂀕􂄢 म प िन􂀕 सं—सं िन􂀕 धु प म ग रि स.

In aroha svaras Ga, and Ni are elongated. There are

andolans on Ga and Ri which sound beautiful. This type of

36 RAGANIDHI Dhanyasi is very popular. The following compositions in Dhanyasi are well known. Dhyaname Varamaina (Telugu) -Adi Tala-Tyagaraja Sangeeta Gnanamu (Telugu) Adi Tala-Tyagaraja Jaba Kusuma Bhasure (Kanarese)-Adi Tala -Muthiah Bhagavatar TYPE II According to Dikshitar school Dhanyasi is a janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha-ni), Jati of this type is Audava-Sampoorna. Svaras Ri and Dh are not used in aroha. Aroha and avaroha are :- नि2 स ग2 म1 प नि2 सं—सं नि3 ध प म1 ग2 रि2 स Svaras used are Chatsruti Ri, Sadharana Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :- निस - गूड़ स - प निड़ सं—सें रिख़प म गू रि स. This sounds like Hindustani raga Dhanasari with Bhimpalas anga. But in that raga Dh is Tivra. A composition in this type of Dhanyasi is Mangala Devate Mam (Sanskrit)—Rupaka Tala -Muthuswamy Dikshitar. Dhanyasi of Dikshitar school corresponds to Abheri raga using Suddha Dh. (See Abheri). DHARMAVATI Hindustani There is no Hindustani raga called Dharmavati. Raga Madhuvanti, which has the following aroha and avaroha, resembles raga Dharmavati of Karnatak. निस - गू—म प निस —सं निधपसंगरिस (See Madhuvanti or Ambika) Karnatak According to Dikshitar school this Melakarta raga is called Dhamavati. Dharmavati is Melakarta Raga No 59

37 DHATUVARDHANI (ri, gi, mi, dhi, nu). It is therefore a Sampoorna-Sampoorna raga. Aroha and avaroha are :- स रि2 नि2 म2 प ध2 नि3 सं—सं नि3 ध2 प म2 ग2 रि2 स Svaras used are Chatsruti Ri, Sadharana Ga, Prati Ma, Chatsruti Dh and Kakali Ni. According to Hindustani notation aroha and avaroha are स रि गू म प ध नि सं—सं निधप मंगरिस Dharmavati is not a very popular raga. The following compositions are occasionally heard. Surapala sannute (Kanarese)—Adi Tala -Mysore Vankatgiriyappa. Chakra raja ratha (Kanarese)—Rupaka Tala- Muthiah Bhagavatar. Datavu Neeve Gaka (Telugu)—Adi Tala -Tiruvattiyur Tyagayya. (Gopala Dasa) DHATUVARDHANI Hindustani There is no Hindustani raga called Dhatuvardhani, nor one which resembles Dhatuvardhani of Karnatak. Karnatak Dhatuvardhani is the 69th Melakarta raga (ru, gu, mi, dha, nu). Aroha and avaroha of this raga are :- स रि1 ग3 म2 प ध1 , नि3 सं—सं नि3 ध1 प म2 ग3 रि1 स Svaras used are Shatsruti Ri, Antara'Ga. Prati Ma, Suddha Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are : स गु मं प ध नि सं—सं निधपमंगरुस (Komal Ga represents Shatsruti Ri). Dhatuvardhani is not a popular raga. Even as a Melakarta it is not an important one. Compositions in this raga are - Sukha kara—Adi Tala—Kotiswara Iyer, Mahesam Bhavayami (Sanskrit)—Adi Tala -Bala Murali Krishna.

38

RAGANIDHI

DHAVALAMBARI

Hindustani

There is no Hindustani raga called Dhavalambari, nor one which corresponds to, or is allied to Dhavalambari.

Karnatak

Dhavalambari is the 49th Melakarta (ra, gu, mi, dha, na). According to Dikshitar school, the name of this melakarta is Dhavalangi. Jati of Dhavalambari is Sampoorna-Sampoorn. a Aroha an avaroha of this raga are :-

स रि₁ ग₃ म₂ ध₁ नि₁ स

स नि₁ ध₁ प म₂ ग₂ रि₁ स

Svaras used are Suddha Ri, Antara Ga, Prati Ma. Suddha Dh and Suddha Ni. According to Hindustani notation the aroha and avaroha are :

स रि म प ध स - सं ध प म ग रि स

(Tivra Dh represents Suddha Ni of Karnatak. Dhavalambari is an uncommon raga. Even as a Melakarta it is not an important one. Compositions in this raga are :-

Karvaya Kanda (Tamil) - Rupaka Tala - Kotiswara Iyer.

Sri Yani Pustaka Pani (Sanskrit) - Adi Tala

• Bala Murali Krishna

DHAVALANGI

Hindustani

There is no Hindustani raga called Dhavalangi. nor one which resembles Dhavalangi.

Karnatak

Dhavalangi is a janya of the 49th Melakarta Dhavalambari (ra, gu, mi, dha, na). Its jati is Shadava-Sampoorna. In aroha svara Ni is omitted. Aroha and avaroha of Dhavlangi are :

स रि₃ ग₂ प ध₁ स - स नि₁ ध₁ प म₂ ग₂ रि₁ स

Svaras used are Suddha Ri. Antara Ga, Prati Ma, Suddha Dh and Suddha Ni. According to Hindustani notatiou the aroha and avaroha are.

स रि म प ध स - सं ध प म ग रि स

DHAVALASHREE

39

(Tivra Dh stands for Suddha Ni of Karnatak. A composition in this rare raga is :-

Sringaradi (Sanskrit) - Khanda Eka Tala

• Muthuswamy Dikshitar.

DHAVALASHREE

Hindustani

Dhavalashree belongs to Kalayn That (Mecha Kalyani). It makes use of only four svaras in aroha and five in avaroha. Hence its jati is Chatusvari-Audava. In aroha svaras Ri, Ma and Ni are not used. In avaroha svaras Ni and Ri are omitted.

Aroha and avaroha of Dhavalashree are :

स ग प ध स - स ध प म ग म स

Svaras used are all Tivra svaras. Pakad or diagnostic svara groups are ध प म ग प म ग स. Vadi svara is pa. Samvadi is Sa. This raga is sung in the evening. In this raga although Tivra Ma is used to overcome the criticism that in a raga there should not be less than five svaras this svara is not brought into prominence. It is used only as a grace note or "Kan" for svara Ga as म्गा. While singing Dhavalashree the following svara groups should be repeated often. स ग प - प ध प - सं ध प - म ग स

प म ग स - प ध - स म ग म ग स

In this raga svara Pa should be kept prominent to remove the chaya of Deshkar. Halt should be made mostly on Sa and Pa, and not on Ga, as प म ग - प ध प - स प ध प - म ग स - प ध प स - प म ग स - प प

Chayas of Jeth, Deshkar, Bhoop and Malashree are found in this raga. Use of double svaras like स स - ग ग - प प etc. sound beautiful. This Raga has not become popular. Compositions in Dhavalashree are :

Ye Mo Mana Mana Me Basata Hai - Ek Tal (Vilambit)

Mande Jinda Too Mande - Teen Tal (Madhyam)

Dhavalashree resembles Malashree very closely.

Malashree - Svara Dh is not used but svara Ni is used (See Malashree)

40 RAGANIDHI

Karnatak

There is no Karnatak raga called Dhavalashree nor one which resembles Dhavalashree of north.

DHEERASANKARABHARANA Hindustani

Bilaval That of Hindustani sangeet corresponds to Dheera-sankarabharana Melakarta which is only another name for Sankarabharana of Karnatak (See Bilaval). Svaras of Bilaval That are considered to be the Suddha svaras of Hindustani. The Major scale of Western music corresponds to Bilaval That of Hindustani, and Dheera-sankarabharana Melakarta of Karnatak systems of music. Svaras used in Bilaval Thāt are, स रि ग म प ध नि.

Karnatak

Dheerasankarabharana is the 29th Melakarta (ri, gu, ma, dhi, nu). Aroha and avaroha are:- स रि₂ ग₃ म₁ प ध₂ नि₃ सं—सं नि₃ ध₂ प म₁ ग₃ रि₂ स

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatsuruti Dh and Kakali Ni. According to Hindustani notation aroha and avaroha are:- स रि ग म प ध नि स—स नि ध प म ग रि स.

Old name for this Melakarta is also Dheerasankarabharana. Word "Dheera" is prefixed to Sankarabharana for purposes of Katapayadi Sankhya method of finding out the number of the melakarta in the seventy-two Melakarta raga scheme.

Dheerasankarabharana is a very important Melekarta as there are a large number of janya ragas which are popular. The most important among them is raga Sankarabharana (See Sankarabharana).

DHENUKA Hindustani

There is no Hindustani raga called Dhenuka If Komal Ni is replaced by Tivra Ni in Bhairavi That the resulting That is Dhenuka.

41 DHULIA MALHAR Karnatak

Dhenuka is the 9th Melakaratha of Karnatak sangeet (ra, gi, ma, dha, nu). Its old name is Dhunibhinnashadja. Aroha and avaroha of this Sampoorna-Sampoorna raga are:- स रि₁ ग₂ म₁ प ध₁ नि₃ सं—सं नि₃ ध₁ प म₁ ग₂ रि₁ स

Svaras used are Suddha Ri, Sadharana Ga, Suddha Ma, Suddha Dh, and Kakali Ni. According to Hindustani notation the aroha and avaroha are :- स रि ग म प ध नि सं—सं नि ध प म ग रि स

In Dhenuka Ga is elongated in both aroha and avaroha. Sadharana Ga and Kakali Ni are the raga chaya svaras of Dhenuka. Dhenuka is appealing during morning hours.

Venkatamakhi called Dhenuka by the name Bhinnashadja. The present day Bhinnashadja of both Karnatak and Hindustani systems are entirely different from Dhenuka. Dhenuka is not a very popular raga. The following composition is however frequently heard.

Teliyaleru Rama (Telugu)—Adi Tala—Tyagaraja.

DHULIA MALHAR Hindustani

This raga is also called Dhoondoo Malhar or Nayak Malhar. There are two types of Dhulia Malhar.

TYPE I

Its jati is Audava-Shadava. Svaras Ga and Dh are not used in aroha. Svara Ga is not used in avaroha. Aroha and avaroha of this type are :- स रि म प नि सं—सं नि ध प म रि स

There is vakra sanchara in aroha. Svaras used are Tivra Ri, Suddha Ma, Tivra Dh, and both Komal and Tivra Ni. Tivra Ni is used in aroha and Komal Ni in avaroha. Vadi svara is Pa. Sangati न ध प is used frequently. Some musicians make use of 5

svara Ga slightly. A composition in this type of Dhulia Malhar is,

Aaj Dharati Le Dulaha—Choutal (Vilambit).

TYPE II

In this type of Dhulia Malhar there is a mixture of Goud Sarang and Malhar angas. The following svara groups are frequently used.

ग रि म - म ध रि प - नि ध नि म प - ध न धि - प नू म रि स.

A composition in this type of Dhulia Malhar is :

Isa Dalana Duve Datana—Jhap Tal (Vilambit).

Karnatak

There is no Karnatak raga called Dhulia Malhar or Dhoondoo or Nayak Malhar. There is no Karnatak raga which exactly corresponds to Dhulia Malhar. Karnatak raga Surati has some resemblance to Dhulia Malhar (Type I) which makes use of Ga slightly. Aroha and avaroha of Surati are :

स रि म प नि सं—सं नि प ध प म ग रि स.

In Surati in aroha as well as in avaroha only Kaisiki Ni (नि) is used. But in practice, in avaroha, it becomes slightly higher almost approaching Kakali Ni or Tivra Ni. (See Surati).

DHURVANKI

Hindustani

There is no Hindustani raga called Dhurvanki. Dhurvanki can be included among ragas of Bilaval That.

Karnatak

Dhurvanki is derived from the 29th Melakarta, Dheera-sankarabharana (ri, gu, ma, dhi nu.) which corresponds to Hindustani Bilaval That. Its jati is Audava-Sampoorna with vakra sanchara in avaroha. Aroha and avaroha of Dhurvanki are :

स रि2 म1 प ध2 सं—सं नि3 प ध2 प म1 ग3 रि2 स

DILIPAKA

Svaras used are Chaturasruti Ri, Antara Ga, Suddha Ma, Chaturasruti Dh, and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स रि म प सं—सं नि ध प म ग रि स

Svaras Ma and Dh are the ranjaka svaras. Dhurvanki is not a popular raga. A composition in this raga is :

Gam Ganapate (Sanskrit) —Tisra Triputa Tala —Jayachamaraja Wadiyar.

Raga, Dhurvanki has some resemblance to the Karnatak raga Goud Malhar.

Goud Malhar— Pa is not used in avaroha. Its aroha and avaroha are :

स रि म प सं—सं नि म ग रि स.

(See Goud Malhar).

DILIPAKA

Hindustani

There is no Hindustani raga called Dilipaka. Hindustani raga Kafi has some resemblance to raga Dilipaka of the South. Dilipaka however is not a popular raga even in the South.

Karnatak

Raga Dilipaka is a janya of the 22nd Melakarta Kharaharapriya (Kafi That). It is a Shadava-Sampoorna raga. In the aroha svara Ga is omitted. Aroha and avaroha of raga Dilipaka are :

स रि2 म1 प ध2 नि2 ध2 प म1 नि3 ध2 नि2 सं—सं नि2 ध2 प म

रि2 ग2 रि2 स

Svaras used are Chaturasruti Ri, Sadharana Ga, Suddha Ma, Chaturasruti Dh, and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

स रि म प न्‌ि ध म . वि्‌ष नि—सं नि ध प म रि ग रि स

In this raga there are vakra sancharas in both aroha and avaroha. Svara Ga is elongated in avaroha where Ga is used. The following special Sanchras have to be carefully brought

out while singing this raga. स रि ग़ म रि ग़ रि स - नि ध़ प . प़ड

म रि ग़ रि स नि॒ड़.

The famous Kriti, Rama Neeyada of Sri Tyagaraja is supposed to have been composed in the raga Dilipaka. But as rendered at the present day it sounds as if the kriti is sung in Kharaharapriya. There are no other compositions in Dilipaka either by Sri Tyagaraja or other composers.

Rama Neeyada (Telugu)—Adi Tala—Tyagaraja.

DINKI POORIA

Dinki Pooria belongs to Poorvi That. (Kamavardhini) This raga ean be called “Marwa” of Poorvi That. Its Jati is Shadava-Shadava Aroha and avaroha of Dinki Pooria are :-

नि ध़ रि मं धु नि सं—स नि धु म ग रि स

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Komal Dh, and Tivra Ni. As Komal Dh is used this raga is different from Marwa.

Vadi svara is Ri. Samvadi is Dh. Vistara (elaboration) of this raga sounds beautiful in mandra and madhya saptaks. It is a poorvanga raga. Svara Ri of Dinki Pooria is supposed to be slightly lower than that of Marwa. Ri of Marwa is called “Chhada” Ri as it is slightly higher. In this raga Ri should be kept scintilating. “Badat” (expansion) should be avoided on svaras Ga and Ma. The following svara groups should be brought out frequently.

रि . नि रि . प़ ध़ नि . नि प़ रि . ग रि - नि ध़ रि स

The svara group नि ध़ रि मं धु ग रि स is used frequently. Care should be taken to use only Komal Dh. Otherwise it will sound like Marwa completely. Svaragroup नि रि स while ending alaps should be carefullly done with Ri carefully kept lower in pitch and coming to Shadja gracefully. The starting or उड़ाब of alap is from Ni. As in Marwa, tara Shadja is avoided in Antara for some time. This has a special beauty.

This raga is sung in the evening between 6 and 9 p.m. Dinki Pooria has veera rasa.

This is a difficult raga as it requires great skill to use only Komal Dh and the Ri of the lower pitch. Hence this raga is not attempted by many musicians. A composition in this is, Chalo Chalo Ri Ali Mandirava--Trital (Drut).

Karnatak

There is no Karnatak raga called Dinki Pooria. If Tivra Ma is substituted for Komal Ma in the Karnatak raga Vasantha then it will sound like Dinki Pooria. Aroha and avaroha of Karnatak raga Vasanta are :-

स ग मं धु नि स—स नि धु म ग रि स.

Komal Ma is used, Ri is omitted in aroha. If Tivra Ma is used in place of Komal Ma then the svaroop with the following aroha and avaroha is obtained :-

स ग म धु नि स—स नि धु म ग रि स.

This altered svaroop of Vasantha of south resembles Hindustani Dinki Pooria.

DIVYAMANI

Hindustani

There is no Hindustani raga called Divyamani. This is an interesting raga. Poorvanga consists of Todi That svaras. In uttaranga Mia Malhar anga is introduced not using svara Dh, but using Komal Ni which stands for Dh. Aroha and avaroha of Divyamani will be as under :-

स रि ग़ म प ध़ नि स—स नि ध़ प म ग़ रि स.

(Komal Ni -नि- represents Shatsruti Dh of south.)

Karnatak

Divyamani is the 48th Melakarta raga (ra, gi, mi, dhu, nu). Its old name is Jeevantini. It is not an important Melakarta. Aroha and avaroha of this Sampoorna-Sampoorna raga are :-

स रि₁ ग₂ म₂ प ध₃ नि₃ स—स नि₃ ध₃ प म₂ ग₂ रि₁ स.

Svaras used are Suddha Ri, Sadharana Ga, Prati Ma, Shatsruti Dh and Kakali Ni.

46

RAGANIDHI

According to Hindustani notation, the aroha and avaroha are :-

स रि ग मे प नि सि स् - स नि प म गु रि स

Divyamani is not a popular raga. Compositions in this raga are :-

Leela Ganu Joochi (Telugu)—Adi Tala—Tyagaraja.

Appa Murugah (Tamil)—Adi Tala—Kotisvara Iyer.

DURBAR

Hindustani

There is no Hindustani raga called Durbar. Durbari Kanada is sometimes called Durbari and not Durbar. One of the types of Badahams or Badahamsa Sarang, having the following aroha and avaroha, resembles the Karnatak Durbar to some extent.

नि स रि म प म - प ध नि प म - ध प नि स् - सं नि ध नि प म रि गु रि स

(See Badahams).

Karnatak

Durbar is a very pleasing and popular raga. It is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni), which corresponds to Hindustani Kafi That. Its jati is Shadava-Sampoorna. Svara Ga is not used in aroha. Aroha and avaroha of raga Durbar are :-

स म रि2 म1 प नि2 ध2 नि2 से सं स नि2 स् . ध2 प म1 रि2

नि2 स रि2 स.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma, Chatsruti Dh and Kaisiki Ni. Svaras Ga and Ni are elongated in avaroha with a special gamaka which is beautiful and is characteristic of this raga. Aroha and avaroha according to Hindustani notation are :-

स म रि म प नि ध नि से - से नि ध प च म रि - रि गु रि स.

Sadharana Ga and Kaisiki Ni are the raga chaya svaras of Durbar. Svara groups रि गु रि स and नि ध प are used and are very pleasing. Popular compositions in Durbar are :-

Yochana Kamala (Telugu)—Adi Tala—Tyagaraja.

Mundu Venuka (Telugu)—Adi Tala—Tyagaraja.

DURBARI KANADA

47

Karnatak raga Nayaki is allied to Durbar. Aroha and avaroha of Nayaki are :-

स रि प ध नि ध प स् - स नि ध प म रि गु रि स.

In Nayaki svaras Ga and Ni are long and have a special charm. In aroha Ni is taken in vakra sanchara. (See Nayaki).

Although Ga and Ni are supposed to be kept elongated only in Nayaki the temptation to do it in Durbar also cannot be overcome easily. Hence very often we find avaroha of Durbar also being rendered like Nayaki with Ga and Ni elongated.

DURBARI KANADA

Hindustani

Durbari Kanada is one of the grandest of Hindustani ragas. Mia Tansen who was one of the nine gems of Akbar's court is said to have invented this raga and sung it in Akbar's durbar, Hence it is called Durbari Kanada. It is full of majesty and is an enchanting night raga. Durbari Kanada belongs to Asavari That (Natabhairavi). Its jati is Sampoorna-Sampoorna.

In avaroha there are vakra sanchara which are beautiful.

Aroha and avaroha of Durbari Kanada are :-

नि स रि ग म प - ध नि स् - स नि ध प म प - गु म - रि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Komal Dh and Komal Ni. Pakad or diagnostic svara groups are :-

म प ध - नि स - रि ग - रि स - गु रि स

Although aroha is also Sampoorna, Ga is weak or "durbai". It is not used in a straight way as स रि ग म. Vadi and Samvadi svaras are Ri and Dh respectively. Some suggest Ga as Vadi and Dh as Samvadi svaras.

In Durbari Kanada sanchara is mostly in mandra and madhya sthayis. This is a feature of this raga and is beautiful. This also differentiates Durbari Kanada from raga Adana which is very much allied to Durbari Kanada. Durbari Kanada is a poorvanga raga. Andolan on Ga and elongation of Dh give great charm to this raga. Sangati नि ध प is very pleasing and "aghat" or stress on Ga as गु रि स should be remembered.

48 RAGANIDHI

The following groups of svaras are frequently used.

स धु5 नि प म प धु5 नि स. Halt on Pa is very pleasing and

is done in the following ways.

धु नि प सम प पु नि प सम धु नि प etc. This raga is full of

gambhirya and shanta rasa. In this raga there is plenty of scope

for meend and gamakas. It is a first class raga for alap.

Compositions in Durbari Kanada are :-

Mubaraka Ba—Ek Tal (Vilambit).

Bandhanava Bandhore—Trital (Madhya).

Aura Nahi Kachu Kamaki—Trital (Madhya).

Raga Adana resembles Durbari Kanada.

Adana—This is an uttaranga raga. Tivra Ni is used in aroha

sometimes. (See Adana).

Karnatak

Durbari Kanada has become very popular in the south also

and goes by the name Durbari Kanada. Svaras used are the

same as those in Hindustani. Raga Durbar of Karnatak

is a different raga altogether. (See Durbar). The following

composition (Tillana) in Durbari Kanada is very popular.

Nadir Deem (Telugu)—Adi Tala—

—Mysore Veena Sheshanna.

Karnatak raga Kanada resembles Durbari Kanada. But

in Kanada of south Chatusruti Dh (Tivra Dh) is used and not

Suddha Dh—Komal Dh—(See Kanada).

DURGA (Bilaval That)

Hindustani

There are two varieties of raga Durga. One of them belongs

to Bilaval That and the other to Khamaj That.

Durga belonging to Bilaval That (Dheerasankarabharana)

is the commonly sung type. This Durga is sung with Malhar

anga. Its jati is Audava-Audava. Svaras Ga and Ni are

omitted in both aroha and avaroha. Aroha and avaroha of this

Durga are :-

स रि म प ध स—सें ध प म रि स.

49 DURGA (BILAVAL THAT)

All svaras are Suddha svaras of Hindustani sangeet, Pakad

or Gunjan svara groups are :-ग म प ध म रि ध म रि प. Vadi

svara is Pa. Samvadi is Sa. While singing this raga, meend म रि,

sangati रि प, frequent use of svara groups स रि म and रि म प ध-

म प ध म and use of ध म with sometimes Pa omitted have

to be borne in mind. Sangati म रि sounds like Suddha Malhar

andरि प like Kamod. This raga is popular and is sung in the

night.

This raga is supposed to have been borrowed from the

south during recent times. Instead of being called Suddha

Siveri, its commonly known name, or Devakriya by which

Dikshitar school calls it, how it was called Durga is not known.

Following compositions are very popular in Durga of

Bilaval That.

Sakhi Mori Ruma Jhuma—Jhap Tal-(Madhya).

Manamohana Javo Hori Khelana—Trital (Drut)

—Shankarao Vyas.

The following Hindustani ragas are allied to Durga of

Bilaval That.

Suddha Malhar (Bilaval That)—Svara Ma is elongated as

स रि म स. Vadi svara is Ma. There is chaya of Goud

Malhar (See Suddha Malhar).

Bhavani—Svara Pa is omitted. Only four svaras स रि म प are

used in both aroha and avaroha (See Bhavani).

Jaldhar Kedar—Svara group प ध म of Durga is not used.

प ध म स is used. So also svara group रि म प is used.

(See Jaldhar Kedar).

Jaya Bhavani—Svara Pa is not used. Svara group धु नि रे is

used to give chaya of Jayajayavanti. (See Jaya

Bhavani).

Karnatak

There is no Karnatak raga called Durga. Raga Suddha

Siveri has the same svaras in aroha and avaroha as Durga of

Bilaval That. Its aroha and avaroha are :-

स रि म प ध स—सें ध प म रि स.

(See Suddha Siveri).

50 RAGANIDHI DURGA (Khamaj That) (Madhuradhvani) Hindustani This type of Durga belonging to Khamaj That (Harikamboji) is also a very pleasing one. But it is not a popular raga, as Malgunji and Rageshree which resemble Durga of Khamaj That and are prefered. This raga is also called Madhuradhvani by some and it is good to have a separate name for this raga. Instead of having two Durga ragas it is desirable to call Durga of Khamaj That as Madhuradhvani. Madhuradhvani is also an Audava-Audava raga. Svaras Ri and Pa are omitted. Aroha and avaroha of raga Madhuradhvani are :- स र म ध नि - सं नि ध म ग र स

Svaras used are Tivra Ga, Suddha Ma, Tivra Dh and Komal Ni. Vadi svara is Ga. This raga is sung in the night. Sangati स ग is frequently used. Compositions in Madhuradhvani (Durga of Khamaj That) are:- Kaisi Anokhi Reet - Trital (Madhya)-S. N. Ratanjankar. Kahe Bhaṭakata - Jhaptal (Madhya)-G. N. Natuo. The following Hindustani ragas resemble Durga of Khamaj That (Madhuradhvani). Rageshree - Svarā Ri is used in avaroha. Tivra Ni is also used. (See Rageshree). Bhinnashadja - Tivra Ni is used. (See Bhinnashadja). Girija - Dh is Komal. Ni is Tivra (See Girija). Chandrakauns - Ga is Komal, Dh is Komal. Ni is Tivra. (See Chandrakauns).

Karnatak There is no Karnatak raga called Durga or Madhuradhvani. A type of Hindola of the South has the same aroha and avaroha as Madhuradhvani or Durga of Khamaj That. Aroha and avaroha of this type of Hindola of Karnatak are : सु र ग म ध नि सं-सं नि ध म ग र स

In this type of Hindola however Ga is Komal. In Durga it

51 DURGA KALYAN is Tivra. The kriti beginning with the words 'Manasuloni Marmamu ' of Shri Tyagaraja is sung in this type of Hindola (See Hindola). While singing the above kriti it has been observed that it is difficult to negotiate the Suddha Ga (Komal Ga) and the pitch of Ga sounds almost like Sadharana Ga (Tivra Ga) in many sancharas thus making this type of Hindola resemble Durga of Khamaj That.

DURGA KALYAN Hindustani This is a new raga formed by combining the two popular ragas Durga (Bilaval That) and Kalyan. Its jati is Sampoorna-Sampoorna. Aroha and avaroha of Durga Kalyan are : स रि ग म प ध नि -सं नि ध प म ग रि स

Aroha and avaroha consist of Kalyan only with Tivra svaras, but at the end of the avaroha the svara group म रि धुस with Suddha Ma is appended to give the Durga chaya. Pakad or Gunjan svara groups are : स ग म रि . म रि धुस. Vadi svara is Sa, Samvadi is Pa. In this raga the Kalyan anga is more important than the Durga anga. The Durga anga may be shown in two ways. (1) Attaching म रि धुस at the end of the avaroha as shown already. (2) Commencing the raga with the following. म रि धु स - नि रि ग म प

Use the following Tans frequently. संपध मिसंरि ग म रि सं नि ध प - म म प ध नि स. Durga Kalyan is sung during first prahara of the night. This raga has not yet gained popularity. Compositions in this raga are : Avori yaha Shobha - Ektal (Vilambit). Charana Kamala ki Asa - Trital (Madhya ). Hindustani raga Yaman Kalyan also uses Sudha Ma, but not in the way it is used in Durga Kalyan. Yaman Kalyan-Suddha Ma is used only occasionally in the svara group त न ग रि स (See Yaman Kalyan).

Karnatak There is no Karnatak raga called Durga Kalyan. Karnatak

raga Saranga uses suddha Ma occasionally in addition to the prominent Prati Ma. Suddha Ma is used only in a special sanchara. प म रि ग म रि स. Aroha and avaroha of Saranga of the south are:—

सु रि ग म प नि सं—स नि ध प म रि ग म रि स

Suddha Ma is not used as म दि ध स (See Saranga).

DVIGANDHAR

Hindustani

This is another name for a variety of Hindustani raga Devagandhar in which both kinds—Komal and Tivra—of Gandhara are used. (See Devagandhar).

Karnatak

There is no Karnatak raga Dvigandhar. A raga called Dvigandharabhushini is described felow. It does not resemble Hindustani raga Dvigandhar. (See Dvigandharabhushini).

DVIGANDHARABHUSHINI

Hindustani

There is no Hindustani raga called ‘Dvigandharabhushini. Two ragas Sivaranjini and Lalit of the night (Ratka Lalit or Vedika Lalit) have some resemblance to Dvigandhara-bhushini.

Sivaranjini—Only Komal Ga and only Tivra Dh are used. (See Sivaranjini)

Vedika Lalit—Prati Madhyama is also touched (See Vedika Lalit).

Karnatak

Dvigandharabhushini is a raga which has been composed by the author of Raganidhi. It is an Audava-Audava raga. Svaras Ma and Ni are omitted. Aroha and avaroha of this raga are—

सु रि ग प ध सं—सं ध प ग रि सु घ्‍‌2 स

According to Hindustani notation they are—

सु रि गु प ध सं—सं ध प गु रि घ सु

DVIJAVANTI OR JEEJAVANTI

Svaras used are Tivra Ri, both Komal and Tivra Ga; both Komal and Tivra Dh. Both Gandharas are used in a special way as रि ग त ग with Tivra Ga between two Komal Gandhars. Tivra Dh is used in aroha while Komal Dh is used in avaroha.

A long continued andolan on Ri as गि‍रि‍ड ग रि‍ड स wth grace note of Ga as ति sounds beautiful.

This raga has pathos in it. The following is a composition in the raga Dvigandharabhushini.

Inta Tamasa Melara (Telugu)—Triputa Tala-B. Subba Rao

DVIJAVANTI OR JEEJAVANTI

Hindustani

There in no Hindustani raga called Dvijavanti. The name Jeejavanti however sounds similar to Jayajayavanti which is a popular Hindustani raga. Dvijavanti has some resemblance to raga Jayajayavanti. Aroha and avaroha of Jayajayavanti are—

स रि ग म प ध नि सं—सं नि ध प म ग रि स

(See Jayajayavanti)

Karnatak

Dvijavanti, also called Jeejavanti, is a janya of the 28th Melakarta Harikamboji. (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. It is a Shadava-Sampoorna raga.

Svara Ni is omitted in aroha. In addition to the svaras of Melakarta Harikamboji, Sadharana Ga (Komal Ga) is also used in avaroha. Hence Dvijavanti is a Bhashanga raga.

Aroha and avaroha of this raga are—

स रि2 म1 ग3 म1 प ध2 सं—नि2 ध2 प म1 ग3 म1 रि2 ग2 रि2 स

Although Ni is omitted in aroha there is a prayoga सु नि प ध नि स while ending avaroha. Svaras used are Chatsruti Ri, Antara and Sadharana Ga. Suddha Ma, Chatsruti Dh and Kaisiki Ni. Sadharana Ga is used only in the avaroha in a special sanchara at the end of the avaroha as म रि गु रि स.

54 RAGANIDHI

According to Hindustani notation aroha and avaroha of Dvijavanti or Jeejavanti are --

ष ष रि ग म प ध ष ष—स णि ध प म ग रि गुति स णि ध नि स.

Raga chaya svaras of Dvijavanti are Suddha Ma and Chatsuruti Dh in aroha and Antara Ga associated with Ma and Sadharana Ga in avaroha. Dvijavanti is not a commonly heard raga. The composition which is usually sometimes sung is :

Cheta Shri Bala Krishnam Bhajare (Sanskrit)

Adi Tala—Muthuswamy Dikshitar.

EESAMANOHARI

Hindustani

There is no Hindustani raga called Eesamanohari, nor one which corresponds to this Karnatak raga. Svaras used in this raga are those used in Hindustani Khamaj That. Hence there is chaya of Khamaj in this raga.

Karnatak

Eesamanohari is derived from the 28th Melakarta Hari-kamboji (ri, gu, ma, dhi, nu) which corresponds to Hindustani Khamaj That. Its Jati is Sampoorna-Sampoorna with vakra sanchara in avaroha. Aroha and avaroha are :-

स रि2 ग3 म1 प ध2 स ण— स णि2 ध2 प म1 रि2 ग म1 ग3 रि स

Svaras used are Chatsuruti Ri, Antara Ga, Suddha Ma, Chatsuruti Dh and Kaisiki Ni. Occasional fuse of Kakali Ni (Tivra Ni) is also permissible. According to Hindustani notation aroha and avaroha are:-

स रि ग म प ध नि स — स णि ध प म ग रि स म ग रि स

The vakra sanchara स रि ग म रि स in avaroha with Ri elongated is diagnostic of this raga. Svaras Ri and Ma are the jeeva svaras. Although the raga is not chosen for elaboration the following composition in Eesamanohari is very popular.

Manasa Shri Ramachandruni—Adi Tala—Tyagaraja.

55 GAMANASHRAMA

GAMAKAKRIYA

Hindustani

There is no Hindustani raga called Gamakakriya. It resembles the Hindustani Poorva Kalyan or Pooria Kalyan. In the Hindustani raga :Poorva Kalyan, Ni is used in aroha also. (See Poorva Kalyan).

Karnatak

Gamakakriya is the old name for the 53rd Melakarata Gamanashrama (ra, gu, mi, dhi, nu). Janya raga Gamakakriya is derived from Gamanashrama. (Marwa That). It is a Shadava-Sampoorna raga with Ni omitted in aroha. Its aroha and avaroha are :

स रि1 ग3 म2 प ध2 स—स नि3 ध2 प म2 ग3 रि1 स

Svaras used are Suddha Ri, Antara Ga, Prati Ma, Chatu-sruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स रि ग म प ध स—स नि ध प म ग रि स.

Ga is jeeva svara of this raga. This is not a popular raga. The following compositions in this raga are available.

Meenakshi Me Mudam Dehi (Sanskrit)—Muthuswamy Dikshitar, Neelakantham Mahadevam (Sanskrit)—Khanda Triputa.. Jayachamaraja Wadiyar.

Karnatak ragas Gamanashrama and Poorvi Kalyani are allied to Gamakakriya.

Gamanashrama—Ni is used in aroha also. (See Gamanash-rama)

Poorvi Kalyani—There is vakra sanchara,र ष प स in aroha. (See Poorvi Kalyani).

GAMANASHRAMA

Hindustani

There is no Hindustani raga called Gamanashrama. Svaras of Marwa That correspond to those of Gamanashrama which is 53rd Karnatak Melakarta. Hindustani raga Poorva

56 RAGANIDHI

Kalyan resembles Karnatak raga Gamanashrama which has the following aroha and avaroha.

स ri ग m पं ध ni सि स—स नि ध प मं ग ri स

(See Poorva Kalyan).

A Sampoorna-Sampoorna type of Jaith or Jeth resembles Gamanashrama. It has for its aroha and avaroha :-

स ri ग मं प ध नि स—स नि ध प मं ग ri स

(See Jaith or Jeth)

Karnatak

Gamanashrama is the 53rd Melakarta (ra. gu. mi. dhi. nu).

It corresponds to the Hindustani That, Marwa. According to Dikbsitar School this Melakarta is called Gamakakriya. Aroha and avaroha of this Sampoorna-Sampoorna raga are:-

स ri1 ग2 म3 प ध2 नि3 स—स नि3 ध2 प म2 ग2 ri1 स

Svaras used are Suddha Ri. Antara Ga Prati Ma, Chatusruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स ri गं प ध नि स—स नि ध प मं ग ri स

Gamanashrama is not a popular raga. The following composition is some times heard.

Idi Neeku Nyayama (Telugu)—Chāpu Tala

—Mysore Vasudevachar.

Ragas Poorva Kalyani and Hamsanandi which are very popular Karnatak ragas are derived from the Melakarta Gamanashrama. The following ragas are allied to Gamana shrama.

Poorvi Kalyani—Ni is not used in aroha. (See Poorvi Kalyani).

Gamakakriya—Ni is not used in aroha. (See Gamakakriya).

GAMBHIRANATA (Suddha Nata)

Hindustani

There is no Hindustani raga called Gambhiranata, Hindustani raga Tilang which has the following aroha and avaroha

57 GAMBHIRAVANI

resembles the Karnatak raga Gambhiranata.

स ग म प नि स—स नि प म ग स

In Tilang Komal Ni is used in avaroha. But in Gambhiranata only Tivra Ni is used in both aroha and avaroha. (See Tilang)

Karnatak

Gambhiranata or Suddhanata is derived from the 36th Melakarta Chalanata (ru, gu, ma, dhu, nu). Its jati is Audava-Audava. Svaras Ri and Dh are omitted in this raga. Aroha and avaroha of Gambhiranata are—

स ग3 म1 प नि3 स—स नि3 प म1 ग3 स

Svaras used are Antara Ga, Suddha Ma, and Kakali Ni. According to Hindustani notation the aroha and avaroha are—

स ग म प नि स—स नि प म ग स

Gambhiranata is not a popular raga. Hindustani Tilang which resembles Gambhiranata is becoming popular in the South.

Tilang—Komal Ni is used in avaroha (See Tilang).

Compositions in Gambhiranata are—

Shri Jalandharamasrayamyahan (Sanskrit)—Adi Tala

—Jayachamaraja Wadiyar.

Sangita-Rasike Lalite-(Sanskrit)—Adi Tala

—B. Subba Rao.

GAMBHIRAVANI

Hindustani

There is no Hindustani raga called Gambhiravani nor one corresponding to Gambhiravani of South. Uttaranga of Gambhiravani has Malhar chaya in it.

Karnatak

Gambhiravani is a janya of the 30th Melakarta Naganandini (ri. gu. ma. dhu. nu). Its jati is Shadava-Shadava. In aroha Ri is omitted. In avaroha Ni is not used. Aroha and Avaroha of Gambhiravani are —

5

स ग3 म1 ध2 नि3 सं—सं ध3 प म1 ग3 रि2 स

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Shatsruti Dh and Kakali Ni. There is vakra sanchara in aroha.

According to Hindustani notation the Aroha and Avaroha are—

स ग प म नि से—सं नि प म ग रि स

In the above, Komal Ni (नि) represents Shatsruti Dh of Karnatak sangeet. We owe this raga to Tyagaraja. The following is a composition in Gambhiravani.

Sada madin dalatu gadara (Telugu)—Adi Tala

—Tyagaraja

GANAMURTI

Hindustani

There is no Hindustani raga called Ganamurti nor one resembling Ganamurti which is a Karnatak Melakarta raga.

Karnatak

Ganamurti is the 3rd Melakarta raga (ra, ga, ma, dha, nu).

According to Dikshitar School this Melakarta is called Gana-samavarali. Aroha and Avaroha of this raga are—

स रि1 ग1 म1 प ध1 नि3 सं—सं नि3 ध1 प म1 ग1 रि1 स.

Svaras used are Suddha Ri, Suddha Ga, Suddha Ma, Suddha Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are—

स रि दि म प धु नि—सं नि धु प म रि स

Tivra Ri (रि)corresponds to Suddha Ga of Karnatak. This raga is of interest only as it is a Melakarta raga. It is not a popular raga.

Compositions in this raga are—

Sri Guruvara ehi pahi (Sanskrit)—Rupaka Tala—

R. S. Gururajachar.

Pahi Jagadeeswara (Sanskrit)—Chaturasra Triputa Tala--

Balamurali Krishna

GANASAMAVARALI

Hindustani

There is no Hindustani raga called Ganasamavarali.

Karnatak

Ganasamavarali is the old 3rd Melakarta corresponding to the present one, Ganamurti. (ra, ga, ma, dha, nu).

Ganasamavarali is now a janya of the Melakarta Ganamurti (ra, ga, ma, dha, nu). Its jati is Shadava-Sampoorna. Ga is omitted is aroha. Aroha and avaroha of Ganasamavarali are :

स रि1 म1 प ध1 नि3 सं—सं नि3 ध1 प म1 रि1 स.

Svaras used are Suddha Ri, Suddha Ga, Suddha Ma, Suddha Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स रि म प धु नि—सं नि धु प म रि स.

In the above Tivra Ri (रि) represents Suddha Ga of Karnatak. This is not a popular raga. A composition in this raga is :

Brihadeeṣwaro rakshatu mam (Sanskrit) Trisra Eka Tala—

—Muthuswami Dikshitar.

GANAVARIDHI

Hindustani

There is no Hindustani raga called Ganavaridhi, nor any Hindustani raga which resembles Ganavaridhi of Karnatak.

Karnatak

Some consider Ganavaridhi to be a janya of the 34th Melakarta Vagadhisvari while others consider it to be a janya of the 35th Melakarta Sulini. The difference is only in the kind of Svara Ni used. Aroha and avaroha in both cases are otherwise the same. They are both Sampoorna-Shadava ragas. Svara Ga is omitted in avaroha. Aroha and avaroha of Ganavaridhi as belonging to Vagadhisvari Melakarta (ru, gu, ma, dhi, ni) are :

स म1 रि3 ग3 म1 प ध2 नि2 से—से ध2 नि2 प म1 रि3 स

Svaras used are Shatsruti Ri, Antara Ga, Suddha Ma, Chatusruti Dh and Kaisiki Ni. There is vakra sanchara in both aroha and avaroha. According to Hindustani notation the aroha and avaroha are :

स म ग म प ध नि से—से न्ध प म गु स

In the above Komal Ga (ग) represents Shatsruti Ri of South. Ganavaridhi is not a popular raga. A composition in this type of Ganavaridhi is, Dayajuchutagidivelara (Telugu) - Adi Tala-Tyagaraja.

The second type of Ganavaridhi belongs to the 35th Melakarta, Sulini (ru, gu, ma, dhi, nu). It is a Sampoorna-Shadava raga, Svara Ga is omitted in avaroha. ; There is vakra sanchara in both aroha and avaroha. Aroha and avaroha of this raga are :-

स म1 रि3 ग3 म1 प ध2 नि3 से—से2 ध2 नि3 प म रि3 स

Svaras used are Shatsruti Ri, Antara Ga, Suddha Ma, Chatusruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :-

स न ग म स प ध नि से—से न्ध प न स गु स

In the above Komal Ga (ग) represents Shatsruti Ri. This type of Ganavaridhi also is not a popular raga. The following composition in this type is available.

Nātonu Vādelarā (Telugu)—Adi Tala -Tiruvottiyur Tyagayya (Gopala Dasa).

GANDHARI

Gandhari belongs to Asavari That (Natabhairavi). It is considered to be a variety of raga Devagandhar. Two types of Gandhari which are popular are :-

1. Gandhari in which only Tivra Ri is used but both Komal and Tivra Ga are used. (2) Gandhari in which both Komal and Tivra Ri are used but only Komal Ga is used. Jati of both types is Shadava-Sampoorna. In aroha Ga is omitted.

GANDHARI

TYPE I

Aroha and avaroha of this type of Gandhari are :-

स रि म प -धू प - प धू नि से—से नि3 ध प -म प गु रि स - रि नि3 -स रि ग़ म ड - ग़ रि स

This corresponds to Type III of Devagandhar (See Devagandhar). Svaras are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Komal Dh and Komal Ni. The use of Tivra Ga in the sanchara स रि ग़ म ड with Tivra Ga and Ma elongated gives a special beauty to this raga. Use of Tivra Ga in the special prayoga स ग़ रि ग़ म ड is made only in avaroha. The following is a popular composition in the above type of Gandhari

Manaharawa Mori Re—Teen Tal - (Madhya)

TYPE II

Aroha and avaroha of this type of Gandhari are :-

स - रि म - प - धू - नि से or धूम - प सं नि से—से नि3 धू-म गु रि स or म प गु रि स

Svaras used are Tivra and Komal Ri, Komal Ga, Suddha Ma, Komal Dh and Komal Ni. Tivra Ri is used in aroha and Komal Ri in avaroha. Pakad or Gunjan svara groups of this type of Gandhari are—

स - रि म - प - नि धू प - से नि धू प - प रि स

Avarroha of this type of Gandhari resembles that of Hindustani Komal Dhanashree or Dhanyasi or Dhanasari of South. A composition in this type of Gandhari is :-

Suno Nanandiya Tora—Trital (Madhya).

The following Hindustani ragas are allied to the two types of Gandhari described above.

Asavari—Ni is not used in aroha. Ri is Tivra in both aroha and avaroha. Tivra Ga is not used. (See Asavari)

Jeevanpuri—Only Tivra Ri is used. Tivra Ga is not used. (See Jeevanpuri)

Komal Asavari—Ri is Komal in both aroha and avaroha. Tivra Ga is not used. (See Komal Asavari)

Gandhari Todi=Komal Ri is used in both aroha and avaroha. Tivra Ga is not used. (See Gandhari Todi)

62 RAGANIDHI Komal Dhanasari—Svaras Ri and Dh are not used in aroha. (See Komal Dhanasari) Karnatak Although there are several ragas whose names end with Gandhari--Nāgagandhari, Bhuvanagandhari etc., there is no raga which goes by the name of Gandhari only in Karnatak. Karnatak Suddhadesi which is a janya of the 20th Melakarta Natabhairavi (Asavari That) resembles a type of Gandhari (other than the two types which were described) but which is less popular and almost resembles Jeevanmuri. Aroha and avaroha of Suddhadesi according to Hindustani notation are :-

स रि म प ध नि स—स नि ध प म ग रि स

Suddhadési is not a popular raga. (See Suddhadesi). Nāgagandhari which has the following aroha and avaroha as sung at present also resembles Gandhari Type I. But Tivra Ga is not used.

स रि स म प ध नि स—स नि ध प म ग रि स

(See Nāgagandhari). Amritavahini also is an allied raga. Its aroha and avaroha are :-

स रि म प ध नि स—स नि ध म ग रि स.

(See Amritavahini) GANDHARI TODI (Also called Gandhari) Hindustani This raga is supposed to be a type of Gandhari in which Tivra Ri has been replaced by Komal Ri in aroha and avaroha. Aroha and avaroha of Gandhari Todi are —

स रि म प ध नि स—स नि ध प म ग रि स

Svaras used are Komal svaras only. Pakad or diagnostic svara groups are:-

रि म प नि ध प म प ग रि स. This is not a

63 ḠAṆḠĀTARAṆGINĪ popular raga. It is a difficult raga. Compositions in this raga are :-

Sunale Ho Sujan — Choutal (Madhya)—S.N. Ratanjankar. Baruwa Maruwa — Jhumra (Vilambit). Gandhari Todi resembles Komal Asavari very closely. Komal Asavari—Ni is not used in aroha. (See Komal Asavari).

Karnatak There is no Karnatak raga called Gandhari Todi. Karnatak raga Asāveri (अ सा वे री) resembles Gandhari Todi and Komal Asavari ragas of Hindustani. Aroha and avaroha of Karnatak raga Asāveri according to Hindustani notation are:-

स रि म प ध स—स नि ध प म रि स

(See Asāveri). ḠANGATARAṆGINI Hindustani There is no Hindustani raga called Ḡangatarangini. The popular type of Jog (Khamaj That) has some resemblance to Ḡangatarangini of the South. Aroha and Avaroha of raga Jog (Khamaj That) are as under :-

स ग म प नि स—स नि प म ग स ग स

(See Jog) Karnatak Ḡangatarangini is the old 33rd Melakarta corresponding to Gange yabhushini (ru, gu, ma, dha, nu). It is an Audava-Sampoorna Raga with a vakra sanchara in avaroha. Pa and Dh are not used.in aroha. Aroha and avaroha of Ganga-tarangini are-

स रि3 ग2 म1 प स—स नि3 ध1 प म1 ग3 म1 रि3 स

Svaras used are Shatsruti Ri, Antara Ga, Suddha Ma, Suddha Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :-

64 RAGANIDHI

स ग म प सं—सं निष्व प म म ग स

Komal Ga (ग) stands for Shatsruti Ri.

Gangatarangini is not a popular raga. The following composition in the Audava-Sampoorna type is available.

Mātādarāda Nāto (Telugu) — Adi Tala — Tiruvattiyur Tyagayya (Gopala Dasa).

According to Dikshitar School, Gangatarangini is a Sampoorna-Sampoorna raga with vakra sancharas in avaroha. Aroha and avaroha of this type are :

स रि3 ग म1 प ध1 नि3 सं—सं नि3 ध प1 म1 ग3 म1 रि3 स.

According to Hindustani notation they are :

स ग म प धु नि स—सं नि धु प म ग म ग रि स.

In the above Komal Ga (ग) represents Shatsruti Ri (रि3) of Karnatak system. A composition in this type of Ganga-taragini is

Varadaraja āvā vānchitādhika (Sanskrit)

—Trisra Eka Tala—Muthuswamy Dikshitar.

GANGEYABHUSHANI

Hindustani

There is no Hindustani raga called Gangeyabhushani. According to Hindustani notation aroha and avaroha of Gageyabhushni are as under :

स ग म प धु नि सं—सं नि धु प म ग रुस.

Komal Ga (ग) stands for Shatsruti Ri of Karnatak system. This raga sounds like a mixture of Jog and Bhairav ragas.

Karnatak

Gangeyabhushani is the 33rd Melakarta. (ru, gu, ma, dha, nu). Its old name is Gangatarangini. Aroha and avaroha of this Sampoorna-Sampoorna raga are :

स रि3 ग3 म1 प ध1 नि3 सं—सं नि3 ध1 प म1 ग3 रि3 स

Svaras used are Shatsruti Ri, Antara Ga, Suddha Ma, Suddha Dh and Kakali Ni. Gangeyabhushani is not a popular raga. Compositions in this raga are :

65 GARA

Evvare Ramiah—Desadi Tala—Tyagayya

Ninai Maname (Tamil)– Rupaka Tala– Kotiswara Iyer.

GARA

Hindustani

Gara belongs to Khamaj That (Harikamboji). Its jati is Sampoorna-Sampoorna. It is a Panchamantya raga. Its aroha and avaroha are :

म प धु नि स · रि गु रि - ग म — प म ग रि - स नि ध प · धु नि स.

Svaras used are Tivra Ri, Komal and Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Pakad or Raga Vachak svara groups are :

ति व रि स · धु नि प धु नि स - ग म रि ग रि. Vadi is Sa. Sam-vadi is Pa. Some suggest svaras Ga and Ni as Vadi and Samvadi svaras. This raga is sung during the second prahara of night. Raga vistara is done mostly in mandra and madhya saptaks -as it is a Panchamantya raga. Gara is considered to be a mixture of ragas, Jinjoti, Pilu and Khamaj. Although this raga is a very pleasing one it is not considered to be a high class raga. It is included among “Kshudra” ragas which are only meant for light songs. Gara or its mixtures are employed for rendering Thoomries. Popular compositions in this raga are :

Ana Bana Jiya Me Lage - Dadra Tal - Thoomrie.

Birana Bhayee Raina - Trital (Madhya)

—S. N. Ratanjankar.

Hindustani ragas Jinjoti and Jayajayavanti have some resemblance to Gara.

Jinjoti—Svara group धु स रि म ग is prominent. (See Jinjoti).

Jayajayavanti—Svara groups नि ध प धु and धु नि धु are prominent. (See Jayajayavanti).

Karnatak

There is no Karnatak raga called Gara. Raga Dhanakapi in which the Purandara Dasa's kriti “Jagadoddharana” is usually sung has some resemblance to the Hindustani raga Gara.

(See Dhanakapi)

66

RAGANIDHI

GARA BAGESHREE

Hindustani

This "Samyukta" raga is formed by the combination of the two pleasing ragas, Gara and Bageshree. Most of the sancharas are of Bageshree. Anga of Gara is maintained by the use of following svara groups,

स - पु नि - स म प म - म - रि ग स - नि स

Vadi svara is Ma. Samvadi is Sa. Chalan or trend of Gara Bageshree is as under-

म - रि स - म म - ग म प - गु रि-स नि म रि स।

ध - ध नि - स - म - प म - गु रि ग स - म - गु रि स ॥

In the above chalan both Komal and Tivra Ga are used as in Gara. Pancham is also prominent. These features are absent in Bageshree. In some places it sounds like Desi. Bageshree anga is kept up by the prominence of the following svara groups

म ग - रि स- स म - ग म - ध - ध नि ध म.

This is a pleasing raga and is particularly so in compositions of fast tempo (Druta laya). A composition in the raga Gara Bageshree is :

Jobona Rasa Le Gaye Ri—Trital (Madhya).

Karnatak

There is no Karnatak raga called Gara Bageshree. There is no Karnatak raga which resembles this Hindustani raga.

GARA KANADA

Hindustani

Gara Kanada belongs to Kafi That (Kharaharapriya). Its jati is Sampoorna-Shadava. In its avaroha Ma is omitted. There is vakra sanchara in both aroha and avaroha. Aroha and avaroha of Gara Kanada are :-

स गु रि प गु रि - म म - प ध स or ग म प नि स—स रि । नि ध प-ध नि - नि ध व गु रि स.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Vadi is Sa.

67

GARUDADHVANI

Samvadi is Pa. Although it is called Gara Kanada, the anga of Kanada is not very much in evidence. In some places chaya of Bageshree is found. A composition in this raga is—

Smara, Smara, Smara - Trital (Madhya)

Karnatak

There is no Karnatak raga called Gara Kanada. There is no Karnatak raga which resembles Gara Kanada of North.

GARUDADHVANI

Hindustani

There is no Hindustani raga called Garudadhvani. Popular Marathi stage song "वि वा ध रा म यू रा" from the play Manapaman is supposed to have been set in the raga Garudadhvani of Karnatak. Excepting this song there is no other composition in this raga in Hindustani. The above mentioned song is an imitation of the kriti "Ananda sagara meedani dehamu" by Tyagaraja in the Karnatak Garuda-dhvani.

Aroha and avaroha of this raga which correspond to Bilaval and Bhoop of Hindustani are :

सु रि ग म प ध नि स—सं ध प ग रि स.

Karnatak

Garudadhvani is a janya of the 29th Melakarta Dheera-sankarabharana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bilaval That. Its jati is Sampoorna-Audava. In avaroha Ni and Ma are omitted. Aroha and avaroha of Garudadhvani are :

स रि₂ ग₃ म₁ प ध₃ नि₃ स—सं ध₂ प म₂ ग₃ रि₂ स

Svaras used are Chatsruti Ri, Antara Ga, Suddha Ma, Chatsruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स रि ग म प ध नि सं—सं ध प ग रि स

Svara groups which are very much in evidence in this raga are :

गड रिड स हिड - त ग रि स हिड - टिड स रि - ग म प - घ नि सं धप -

घ नि से ड हि मेड - हि सं घड प - पगड रि - टि सं हिड रि ग म प etc.

Garudadhvani is a rare raga. The following composition is sung.

Anandasagara meedani dehamu—Adi Tala—Tyagaraja.

It is interesting to note that this raga sounds like inverted Bilahari which has for its aroha and avaroha :

स रि ग प ध सं—सं नि ध प म ग रि स

(See Bilahari).

GAULA

Hindustani

There is no Hindustani raga called Gaula. There is a raga called Goud. (See Goud). It is likely that Goud or Gouda and Gaula are associated with that part of India which was called Gouda Desha.

Karnatak

Gaula is a janya of the 15th Melakarta Mayamalava gaula (ra, gu, ma, dha, nu) which corresponds to Hindustani Bhairav That. Gaula is one of the Ghana ragas.. Its jati is Shadava—Shadava. Dh is omitted in both aroha and avaroha. Aroha and avaroha of Gaula are:

स रि1 ग3 म1 ध1 म1 प ध3 — सं—सं नि3 प म1 ग3 म1 ध1 स

There are vakra sancharas in both aroha and avaroha. Svaras used are Suddha Ri, Antara Ga, Suddha Ma, and Kakali Ni. According to Hindustani notation the aroha and avaroha of Gaula are :

स रि ग म रि म प नि सं—सं नि प म ग रि - स.

Suddha Ri is the raga chaya svara or jeeva svara. Ri, Ma, Pa and Ni are the important svaras. Some consider this to be an Audava—Shadava raga. Ga and Dh are omitted in aroha and Dh in avaroha. Aroha and avaroha of this type are :

स रि - म प नि सं—सं नि - प म - ग म - रि ग म रि स.

Gaula is a popular raga. This raga is sung or played at the commencement of music concerts. Being a Ghana raga it is

employed in rendering Tanams. Popular compositions in raga Gaula are :

Dudakugula nanne (Telugu)—Adi Tala—Tyagaraja.

Sri Mahaganapatir avatu mam—Triputa Tala —Muttuswami Dikshitar.

Pranamamyaham Gourisutam (Sanskrit). —Adi Tala--Mysore Vasudevachar.

GAULIPANTU OR GAUDIPANTU

Hindustani

There is no Hindustani raga called Gaulipantu. Gaulipantu has some resemblance to the Karnatak raga Jaganmohini which is being introduced into Hindustani during recent years. Aroha and avaroha of Jaganmohini or Jagamohanijas it is also called are :-

स ग म प नि सं—सं नि प म धि स.

(See Jaganmohini)

Karnatak

Gaulipantu is derived from the 15th Melakarta Mayamalava-gaula (ra, gu, ma, dha, nu) which corresponds to Hindustan Bhairav That.

There are three sets of aroha and avaroha suggested for this raga.

No 1. This is of Sampoorna-Sampoorna jati, with vakra sanchara in aroha as under :

स रि1 ग3 रि1 म प ध1 सं—सं नि3 ध1 प म1 ग3 रि1 स

No. 2. This is of Audava - Sampoorna jati. There are no vakra sancharas. Ga and Dh are omitted in aroha.

स रि1 म1 प नि3 सं—सं नि3 ध1 प म1 ग3 रि1 स.

No. 3. This is also of Audava-Sampoorna jati, with Ga and Dh omitted in aroha. There is vakra sanchara in avaroha.

स रि1 म1 प नि3 सं—सं नि3 ध1 प म ध1 म1 ग3 रि1 स.

The last mentioned aroha and avaroha have been fixed by the Madras Music Academy Conferences. Svaras used in all the above arohas and avarohas are Suddha Ri, Antara Ga, Suddha Ma, Suddha Dh and Kakali Ni.

Some people say that Prati Ma used to find place in Gaulipantu. In this matter there might have been a confusion. There is a Karnatak raga called Gauripantu which is a Prati-madhyama raga. It is a janya of the 51 st Melakarta Kama-vardhini (ra, gu, mi, dha, nu). In all other respects it resembles Gaulipantu. Its aroha and avaroha are :-

स ri1 म2 प dha1 सं-sं नि3 ध1 प2 ध1 म2 ग2 नि1 रि1 स.

Gaulipantu is not as popular as its allied ragas Gaula or Jaganmohini. The following composition in Gaulipantu is however very popular.

Tera deeyagarada (Telugu) - Adi Tala - Tyagaraja.

It is said that when Saint Tyagaraja sang this kriti in the temple at Tirupati, the curtain which the temple priest had refused to raise, to enable Saint Tyagaraja to have a look at Sri Venka-teshwara Vigraha, the curtain moved on its own accord to a side and all those who were present saw the Vigraha to their great delight.

'Krishnananda' of Dikshitar and 'Kuvalayakshiro' of Kshetragna are also sung.

GAURI

Hindustani

There are six varieties of Gauri. A few types which are fairly well known are described below. Two of them belong to Poorvi That(Kamavardhini) and one belongs to Bhairav That (Maya-malavagaula)

TYPE I

Shree Gauri (Shree Anga)

This type belongs to Poorvi That. Its jati is Audava-Shadava. In aroha Ga and Dh are omitted. In avaroha Ga is dropped. Aroha and avaroha of Gauri with Shree Anga are :-

नि स -दि मं प -नि सं-नि धि प़ु-मं त्रि -रि स

Svaras used are Komal Ri, Tivra Ma, Komal Dh and Tivra Ni. Pakad or Raga Vachak svara groups are :-

रि ri1 प़ प dha1 मं प -प़ मं त्रि -मं त्रि -रि स

Vadi svara is Ri, Samvadi is Pa. This is an evening raga. It has gambhira prakriti. As this type of Gauri resembles

Shree very closely it is called Shree Gauri. Svaragroup ri ri s is used frequently as in Shree. But Ga is not used (See Shree). The vistara of this raga sounds beautiful in mandra saptak. It is a poorvanga raga. A composition in Shree Gauri is :-

Lanka Laye Ramajee—Roopak Tal (Vilambit).

TYPE II

This is the type which is called merely Gauri. This is a popular type. This also belongs to Poorvi That. Its jati is Shadava-Sampoorna. In aroha Ga is omitted. Aroha and avaroha of this type are :

स ri मं प धु नि सं-स नि धुप मं ध नि स.

Sometimes Dh is omitted in aroha making it Audava. Svaras used are Komal Ri, Tivra Ga, Prati Ma, Komal Dh, and Tivra Ni. Diagnostic svara groups or Pakad consists of :-

स नि प़ धु -नि ri ग -ri मं ग ri -स नि -नि धु स.

The use of these svara groups at the end of the raga sounds peculiarly beautiful and at once suggests Gauri. In this type tara saptak svaras are not used. The sanchara is limited up to Pa of mandra saptak. Svaras Ri and Ni have to be brought out beautifully in स ri नि धि स. Sanchara of this type of Gauri is briefly as under-

स स · प -में मं प़ध -मं ग -ri मं स ri -नि धि स ।

स नि प़ धु -ri ग -ri द मं ग ri -स ri -नि धु स.

The sanchara or vistara of this raga is very limited. Hence this raga is not an Alapa-yoga raga as elaborate ragaalapana is not possible. A composition in this type of Gauri is :-

Yeri Daiyya Kake Pas Rahilo—Tilwada (Vilambit)

TYPE III

Gauri (Kalingada Anga)

This is a popular type of Gauri. It belongs to Bhairav That (Mayamalavagaula). This raga is called by some the evening Kalingada (दो पहर का कालिङ्गडा). This type of Gauri is a combination of Kalingada and Shree ragas. Its jati is Audava-

Sampoorna. Svaras Ga and Dh are not used in aroha. Aroha-avaraha of this type of Gauri are—

स - रि म प नि -स—स नि धु प म ग रि स

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Komal Dh and Tivra Ni. In this type of Gauri Komal Ma is used. In all other respects it resembles Gauri Type II which belongs to Poorvi That. Pakad or diagnostic svara groups are—

स नि प् नि -रि ग रि ल गा रि स रि -नि॒ड - स॒.

Vadi svara is Ri, Samvadi is Pa. As in other types of Gauri Ni is prominent in mandra sthayee as स रि-नि॒ड्‌ - स॒. The svara groups which are characteristic of Gauri are introduced in the following way: Komal Ma is used in this type, रि ग रि म ग रि -स रि -नि॒ड्‌स॒. Vakra sanchara of Ma as रि त रि म is to prevent chaya of Jogia and Gunakali ragas.

This is an evening raga. The commencement of the raga (उदाव) is as under:

स नि प् नि -रि ग रि म स रि नि॒ड्‌ - स.

Chalan is as indicated below:

स व नि प् नि -द रि ग रि म ग रि स रि -नि स -म धु प् नि स -धु प म

स -म म -ग -नि॒ड्‌ - स॒.

Compositions in Gauri (Kalingada anga) are—

Phuli Sanjh Madhuvanam—Choutal (Vilambit),

Murali Bajorvi—Choutal (Vilambit).

Type IV (Marwa Anga)

This type of Gauri also belongs to Poorvi That and not Marwa That. It is called Marwa Gauri only because importance is given to svara Ri, as in the raga Marwa to create a Marwa effect, in the Gauri sanchras. Komal Dh is used as in Poorvi That. This not a popular Type. Jati of Marwa Gauri is Audava-Sadava. In aroha svaras Ga and Pa are omitted. In avaroha Pa is not used. Aroha and avaroha of this type are :

नि स -दि नि प् -म धु -नि धु नि स—स नि -रि' नि धु -मं -ग म धि-मं ग रि॒ड्‌.

मं॒डि - स

Svaras used are Komal Ri, Tivra Ga, Prati Ma Komal Dh and Tivra Ni.

Vadi svara is Ri, and Samvadi Dh. This is a poorvanga raga. Svaras groups ग रि स -ति रि स are frequently used to maintain Gauri anga prominent. Vishranti svaras are Sa, Ri and Dh. Svaras groups धु मं ग रे -नि धु मं ग रि etc., ending with Ri give the Marwa chaya although Komal Dh is used. Antara begins with मं धु म -सं सं -नि रि' सं.

Karnatak

Karnatak raga Gauri is derived from the 15th Melakarta Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Hindustani Bhairav That. It is an Audava-Sampoorna raga. In aroha svaras Ga and Dh are omitted. Aroha and avaroha of Gauri are :

स रि1 म1 प नि3 सं—सं नि3 धु प म1 ग3 रि1 स

Svaras used are Suddha Ri, Antara Ga, Suddha Ma, Suddha Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स रि म प नि स—स नि ध प म ग रि स

Karnatak raga Gauri exactly corresponds to the Hindustani raga Gauri with Kalingada anga and which belongs to Bhairav That (Mayamalavagaula). Karnatak raga Gauri is a rare raga. The following compositions are available.

Jaya Jaya Shree Raghu (Telugu)—Adi Tala—Tyagaraja.

Dhoorjati Natinchena (Telugu) - Adi Tala

— Doraswamy Iyer.

Momu Jooparada—(Telugu)—Adi Tala—

Tiruvottiyur Tyagayya.

According to Dikshitar School, Gauri is a Shadava Sampoorna raga. In aroha svara Ga is omitted. In avaroha there is vakra sanchara. Aroha and avaroha of this type are :

स रि1 म1 प धु नि3 सं—सं नि3 धु1 प म1 प म1 ग3 रि1 स

According to Hindustani notation they are:

स रि म प धु नि स—स नि धु प म प म ग रि स

A composition according to above type is :

Gauri Giriraja Kumari (Sanskrit) - Trisra Rupaka Tala

—Muttuswami Dikshitar.

74 RAGANIDHI

Raga Gauripantu which is a janya of the 51st Melakarta, Kamavardhini, (Poorvi That) resembles the Hindustani raga Gauri with Shree anga. Aroha and avaroha of Gauripantu according to Hindnstani notation are :

स रि म प नि स — स नि ध प म ग रि स

It should be noted that Gauripantu is different from Gaulipantu. (See Gauripantu)

GAURIMANJARI Hindustani

This raga is being popularised by instrumentalists (Sitar and Sarod). It belongs to Poorvi That (Kamavardhini). It is a Shadava-Sampoorna raga. Pa is not used in aroha. Although it is put under Poorvi That svaras other than those of this That are used. Svaroop of this raga is also not well understood. Hence this raga is not popularamong vocalists yet.

Sanchara of this raga is as under :

नि रि ग म ध प — धु नि से— रि2 से रि1 ग़2 — नि ध प — म ग म1 ग रि स — नि2 नि2 ध नि2 ग़2 — ग प म ध नि स — न म ध प — नि स रि1 — नंद रि1 सं— ग प म धु प — म ग म1 रि स.

Svaras used are both Komal and Tivra Ri, Tivra Ga, both Suddha and Prati Ma, Komal Dh and both Komal and Tivra Ni. Vadi svara is Pa and Samvadi Sa. This is an evening raga.

Karnatak

There is no Karnatak raga called Gaurimanjari nor one resembling the Hindustani Gaurimanjari.

GAURIMANOHARI Hindustani

There is no Hindustani raga called Gaurimanohari. Gaurimanohari That is obtained by combining Kafi and Bilaval

GAURISHANKARA 75

That svaras in poorvanga and uttaranga respectively:- Poorvanga — स रे ग म (Kafi That). Uttaranga-प ध नि स (Bilaval That).

Gaurishankara That has its aroha and avaroha as :

स रि ग प ध नि सं—हं नि ध प म ग रि स.

Karnatak

Gaurimanohari is the 23rd Melakarta (ri, gi, ma, dhi, nu). Its old name is Gaurivelavali. Aroha and avaroha of this Sampoorna-Sampoorna raga are :

स रि2 ग2 म1 प ध2 नि3 स—रे नि3 ध2 प म1 ग2 रि2 स

Svaras used are Chaturasruti Ri, Sadharana Ga, Suddha Ma, Chaturasruti Dh and Kakali Ni.

According to Hindustani notation the aroha and avaroha are :

स रि ग प ध नि सं—सं नि ध प म ग रि स

Gaurimanohari is a very pleasing raga. The following compositions are sometimes heard :

Guru Lekha Yetuvanti (Telugu) - Jhampa Tala—Tyagaraja. Sarasa Sama Mridu Pada (Sanskrit) - Adi Tala —Swati Tirunal.

GAURISHANKARA Hindustani

This unfamiliar raga belongs to Marwa That.(Gamana-shrama). Its jati is Audava-Shadava. In aroha svaras Ma and Dh are omitted. In avaroha Ma is not used. Aroha and avaroha of Gaurishankara are :

स रि ग प नि सं—रि सं नि ध प ग रि स

Svaras used are Komal Ri, Tivra Ga, Tivra Dh and Tivra Ni, Vadi svara is Pa and Samvadi Sa. This is an evening raga. In this raga we find a combination of ragas Gauri and Shankara. The angas of Gauri and Shankara are—Gauri—ग रि स — प ग रि स. Shankara—न प नि — से नि ध प. Commencement of this raga (उठान) is as under.

लि लि रे ग रि स — ध नि स ग — प ग — नि ध नि (प) ग प — ध प म — रे ग रि स — धु प ।

76

RAGANIDHI

Antara is as under :

प ṅ प व से · रि ṣ स · ग ं पं · ग ं पं · रि ṣ स · धि (स ṅ) नि · स ङ नि (प ·)

प स ङ - नि (प) - ग प · धि रि ग प प व प · न ग प · धि रि · स रि (स ṅ) · नि ṣ स · ग .

The following is a composition in Gaurishankara :

Kouna Madamata Thado Hai—Jhap Tal (Madhya).

Raga Arunashankara (also called Malan or Malini) resembles Gaurishankara.

Arunashankara or Malan—In aroha Ri and Ma are not used.

In avaroha Ma and Dh are not used. (See Arunashankara or Malan).

Karnatak

There is no Karnatak raga called Gaurishankara. A raga corresponding to Gaurishankara can be formed by using Suddha Ri in place of Chatusruti Ri and slight use of Chatusruti Dh in aroha in the raga Hamsadhvani. The steps of alteration will be as under :

Hamsadhvani —स रि ग प नि सं—सं नि प ग रि स.

After substituting Suddha Ri for Chatusruti Ri,

स रि ग प नि स ḍ ·—सं नि प ग रि स

and after introducing vakra sanchara and slight use of Chatusruti Dh in avaroha :

स रि ग प नि से—सं नि·ष धि (व) ग रि स

(व) indicates a kind of shake with the svaras प ध uttered quickly.

GAURIVELAVALI

Hindustani

There is no Hindustani raga called Gaurivelavali, nor one resembling this Karnatak raga. Aroha of this raga sounds like that of Hindustani raga Sindhura. Use of Tivra Ni in avaroha removes the Sindhura chaya. (See Sindhura).

77

GAVAMBODHĪ

Karnatak

Gaurivelavali is the old name for the 23rd Melakarta, Gaurimanohari (ri, gā, ma, dhi nu). Raga Gaurivelavali is a janya of the 23rd Melakarta, Gaurimanohari. It is a Shadava-Sampoorna raga. Ni is omitted in aroha. Its aroha and avaroha are :

स रि₂ ग₂ स रि₂ म₁ प ध₂ स—सं नि₃ ध₂ प म₁ ग₂ रि₂ स

There is vakra sanchara in aroha. Svaras used are Chatsruti Ri, Sadharana Ga, Suddha Ma, Chatusruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स रि ṣ रि म प ध सं—सं नि ṣ ध प म ग रि स

A composition in Gaurivelavali is, Kaumari Gauri (Sanskrit) - Adi Tala

— Muttuswami Dikshitar

GAVAMBODHI

Hindustani

There is no Hindustani raga called Gavambodhi. Poorvanga of Gavambodhi sounds like Hindustani Todi.

Karnatak

Gavambodhi is the 43rd Melakarta (ra, gi, mi dha, na). According to Dikshitar School this Melakarta is called Girvani. Aroha and avaroha of this Sampoorna-Sampoorna raga are :

स रि₁ ग₃ म₂ प ध₁ नि₃ सं—सं नि₁ ध₁ प म₂ ग₃ रि₁ स.

Svaras used are Suddha Ri, Sadharana Ga, Prati Ma, Suddha Dh and Suddha Ni.

According to Hindustani notation the aroha and avaroha are :

स रि ग म प ध सं—सं ध प म ग रि स.

In the above aroha and avaroha Tivra Dh stands for Suddha Ni of Karnatak. Gavambodhi is not a popular raga.

Compositions in this raga are :

Viraivaga va—Adi Tala - (Tamil)—Kotiswara Iyer.

Vinati che konavayya (Telugu) - Rupaka Tala

—Balamurali Krishna.

78

RAGANIDHI

GAVATI

Hindustani

This is another name for the Hindustani raga Bhim (See Bhim).

Karnatak

There is no Karnatak raga of this name.

GAYAKAPRIYA

Hindustani

There is no Hindustani raga called Gayakapriya. Poorvanga sounds like Bhairav. In Uttaranga the use of Komal and Tivra Dh side by side as ′‌′ ‍‌′′ is peculiar.

Karnatak

Gayakapriya is the 13th Melakarta (ra, gu, ma, dha, na). It is called Geya-Hejjujji by Dikshitar School. It is a Sampoorna raga. The aroha and avaroha are :

स रि₁ ग₂ म₁ प ढ₁ नि₁ स—स नि₁ ढ₁ प म₁ ग₃ रि₁ स

Svaras used are Suddha Ri, Antara Ga, Suddha Ma, Suddha Dh and Suddha Ni. According to Hindustani notation the aroha and avaroha, are :

स र म प ढ न स—स न ढ प म ग र स

In the above Tivra Dh (′‌′) represents Suddha Ni of Karnatak. This is not a popular raga. Compositions in this raga are :

Nāda Nilai (Tamil) - Jhampa Tala-Kotiswara Iyer.

Shri Maha Vishnum Bhajare - (Sanskrit) - Khanda Jhampa Tala-Balamurali Krishna.

GEETAPRIYA

Hindustani

There is no Hindustani raga called Geetapriya.

Karnatak

Geetapriya is the old name for the 63rd Melakarta

79

GHANTA

Latangi (ri, gu, mi, dha, nu). Raga Geetapriya corresponds to present day Latangi. (See Latangi).

GEYAHEJJUJJ

Hindustani

There is no Hindustani raga called Geyahejjuiji. There is no Hindustani raga which resembles this Karnatak raga.

Karnatak

Geyahejjuiji is the old name for the 13th Melakarta Gayakapriya. (See Gayakapriya).

Raga Geyahejjuiji is a janya of the 13th Melakarta Gayakapriya (ra, gu, ma, dha, na). Its jati is Shadava-Sampoorna. In svara Ni is omitted. The aroha and avaroha are :

स रि₁ म₁ ग₃ म₁ प ढ₁ स—स नि₁ ढ₁ प म₁ ग₃ रि₁ स

Svaras used are Suddha Ri, Antara Ga, Suddha Ma, Suddha Dh, and Suddha Ni. According to Hindustani notation the aroha and avaroha are :

स र म प ढ न स—स न ढ प म ग र स

In the above, Tivra Dh (′‌′) represents Suddha Ni of Karnatak system. There is vakra sancharia in aroha: This is not a popular raga. A composition in this raga is :

Ramachandra Bhaktam (Sanskrit) - Adi Tala

— Muttuswami Dikshitar.

GHANTA

Hindustani

There is no Hindustani raga called Ghanta. In the Karnatak raga Ghanta, in one type svaras used are those of Hindustani Bhairavi That. In another type the svaras are of Asavari That.

Karnatak

Ghanta is derived from the 8th Melakarta Hanumatodi, (ar, gi, ma, dha, ni) which corresponds to Hindustani Bhairavi

80 RAGANIDHI

That. There is difference of opinion regarding the aroha and avaroha of this raga. Some put this as a Nishadantya raga with the following aroha and avaroha—

स रि1 ग2 म1 प ध1 नि2—ध1 प म1 ग2 रि1 स नि2 ध1 प नि3 स.

Svaras used are Suddha Ri, Sadharana Ga, Suddha Ma, Suddha Dh, and Kaisiki Ni.

According to Hindustani notation the aroha and avaroha are :

स रि ग म प ध नि—ध प म ग रि स नि ध प नि3 स

Another set of aroha and avaroha for Ghanta under Hanuma Todi Melakarta is :

स ग2 रि2 ग2 म1 प नि2 स—स नि2 ध1 प म1 ग2 रि1 स

The above is a Shadava-Sampoorna jati with Dh omitted in aroha. The peculiarity in this aroha and avaroha is that in aroha Chaturasruti Ri, and in avaroha Suddha Ri, are used. Hence it is a Bhashanga raga. Chaturasruti Dh is also admissible.

There are also the special prayogas स रि ग and ध नि सं. According to Hindustani notation the aroha and avaroha are:-

स ग रि ग म प ध नि सं—स नि ध प म ग रि स

Ghanta is a rare raga.

There are a number of songs in this raga composed by Shri Tyagaraja. But only one or two are heard occasionally.

A few of these compositions are ;-

Inka yochana (Telugu) – Adi Tala–Tyagaraja.

Karunā rasākshāya (Telugu)–Jhampa Tala–Tyagaraja

According to Dikshitar School Ghanta is a janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni). Its jati is Sampoorna-Sampoorna with vakra sanchara in aroha. Aroha and avaroha of Ghanta are :

स ग2 रि2 ग2 म1 प ध1 नि2 स—स नि2 ध1 प म1 ग2 रि1 स

Svaras used are Chaturasruti Ri, Sadharana Ga, Suddha Ma, Suddha Dh and Kaisiki Ni.

According to Hindustani notation the aroha and avaroha are:-

स ग रि ग म प ध नि ध नि—स नि ध प म ग रि स

It will be seen that this type of Ghanta falls under Asavari That of Hindustani. A composition in this type of Ghanta is

81 GIRIJA

Shri Mangalambikam (Sanskrit)—Jhampa Tala— Muttuswami Dikshitar.

GHOSHINI

Hindustani

There is no Hindustani raga called Ghoshini. Hindustani raga Ahir Bhairav has some resemblance to this Karnatak raga.

Aroha and avaroha of Ahir Bhairav are :-

स रि ग म प म . ध नि—सं नि ष प म ग रि स . नि ध स

(See Ahir Bhairav)

Karnatak

Ghoshini is derived from the 16th Melakarta Chakravaka (ra, gu, ma, 'dhi, ni). It is a Shadava-Sampoorna raga with vakra sancharas in both aroha and avaroha. Svaras Ri is omitted in aroha.' Aroha and avaroha of Ghoshini are—

स म1 ग3 म1 प ध2 नि2 स—स नि2 ध2 प म1 ग3 म1 रि1 स

Svaras used are Suddha Ri, Antara Ga, Suddha Ma, Chaturasruti Dh and Kaisiki Ni.

According to Hindustani notation the aroha and avaroha are :-

स म म प ध नि स—स नि ध प म म ग रि स

Ghoshini is not a popular raga. The following composition in this raga is available.

Vidalaya Nammiyunnanura (Telugu) Adi Tala— Tiruvottiyur Tyagayya.

Aroha of Ghosini sounds like that of Kuntalavarali. But in the aroha of Kuntalavarali svara Ga is not used. The aroha is Audava. The avaroha of the two ragas are entirely different.

(See Kuntalavarali)

GIRIJA

Hindustani

This is an unfamiliar raga belonging to Bhairav That (Mayamalavagaula). Its Jati is Audava. Svaras Ri, and Pa are

82

RAGANIDHI

omitted in both aroha and avaroha. Aroha and avaroha of

Girija are :

सा ग म धु नि सं–सं नि धु मा गस

Svaras used are Tivra Ga, Suddha Ma, Komal Dh, and

Tivra Ni. Pakad or diagnostic svara groups are–गा म धु नि -

गा म - सा. Vadi is Sa and Samvadi Ma. This raga is sung

in the morning. A composition in this raga is,

Jaya Jaya Ho Girija Nanda - Trital - (Madhya)

Raga Girija resembles Chandrakāuns, Madhuradhvani, and

Bhin­nashadja.

Chandrakuns - Ga is Komal. (See Chandrakāuns.)

Madhuradhvani (Durga of Khamaj That). Dh is Tivra and

Ni is Komal. (See Madhuradhvani).

Bhin­nashadja - Dh is Tivra. (See Bhin­nashadja).

Karnatak

There is no Karnatak raga called Girija. Karnatak raga

Vasan­ta which is a janya of the 15th Melakarta Mayama-

lava­gaula (Bhairv That) resembles Hindustani raga.Girija. Aroha

of Vasan­ta is exactly like that of Girija. But in its avaroha

svara Ri is also used. It is Komal Ri. Aroha and avaroha of

Vasan­ta of Karnatak are as under :

सा ग म धु नि सं–सं नि धु म गा रि स

In Vasan­ta sometimes Chaturs­ru­ti Dh (Tivra Dh) is used.

(See Vasan­ta).

GIRVANI

Hindustani

There is no Hindustani raga called Girvani. Poorvanga of

Girvani sounds like Todi of Hindustani. (See Todi).

Karnatak

Girvani is the name, according to Dikshitar school, of the

43rd Melakarta Gavambodhi (ra, gi, mi, dha, na).

Raga Girvani is derived from the 43rd Melakarta Gavam-

bodhi. Its Jati is Sampoorna–Sampoorna with vakra sanchara

in aroha. Aroha and avaroha of raga Girvani are :

83

GOPIKAMBODI

सु रि1 नि2 म2 ध2 नि1 ध1 प ध1 सं–सं नि1 ध1 प म2 नि2 रि1 स

Svaras used are Suddha Ri, Sadharana Ga, Prati Ma,

Suddha Dh and Suddha Ni. According to Hindustani notation

the aroha and avaroha are :

सु रि ग म प ध1 , प ध1 प सं–सं ध प मं ग्रि स

A composition in Girvani is–

Namo Namaste Girvani (Sanskrit) – Tripuṭa Tala

—Muttuswami Dikshitar.

GOPIKAMBODI

Hindustani

Gopikambodi or Gopikamboji belongs to Kafi That

(Kharaharapriya). Its jati is Shadava–Sampoorna. Ni is

omitted in aroha. Aroha and avaroha are :

स रि ग - प ध सं–सं नि ध - म ग रि स

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra

Dh, and Komal Ni. Pakad or Gunjan svara groups are–

ध - म प –सं नि ध - प गु म - प ध म रि सु. Sangati ग रि is fre-

quently used and is pleasing. Although sangati ग रि is used it

does not mean that svara ग is omitted in aroha. It is used as

प ध म प or ग रि प म. Vadi is Ga. Samvadi is Ni. This raga is

sung during second prahara of night.

Gopikambodi is one of the ragas which were popularised

by Prof. B. Umdekar of Gwalior. A composition in this raga is :

Jitatata Tuhi Ramaraheho–Trital (Madhya)

—Balab­hau Umdekar

Hindustani raga Manohari is allied to Gopikambodi.

Manohari - There are vakra sanch­aras म ध म and ग रि ग in

aroha. In avaroha svara Ni is not used. (See Manohari).

Karnatak

There is no Karnatak raga called Gopikambodi. Karnatak

raga Jayanarayani which is a janya of the 22nd Melakarta

Kharaharapriya (Kafi That) has the same aroha and avaroha

84

RAGANIDHI

as Gopikambodi of Hindustani sangeet. Jayanarayani has the

following aroha and avaroha—

स रि गू म प धू नि सं—सं नि धू प म गू रि स

(See Jayanarayani).

GOPIKAVASANT

Hindustani

This raga is also called Gopivasant. Gopikavasant belongs

to Asavari That. (Natabhairavi). Its jati is Shadava—Shadava.

Ri is omitted in both aroha and avaroha. Aroha and avaroha

of Gopikavasant are :

नि स - गू म प - नि धू प म - प गू म गू स

There are vakra sancharas in both aroha and avaroha.

Svaras used are Komal Ga, Suddha Ma, Komal Dh, and

Komal Ni. Pakad or diagnostic svara groups are :

म प - धू नि सं - धू नि धू म - प गू म गू स

Vadi svara is Sa. Samvadi is Pa. This raga is sung during the last prahara of

the night.

In Gopikavasant there are chayas of Malkosh and Adana.

Malkosh chaya exists in the following groups of svaras—

सं नि धू प - धू प म - रि स गू - म गू स

Adana chaya consists of

म प धू नि सं. Use of Pa removes Malkosh chaya. Use of धू नि प

in Adana is prominent. This is not used in Gopikavasant.

Gopikavasant is said to have been introduced into

Hindustani sangeet during recent times from the South. But in

the Karnatak raga Gopikavasanta Ga is not used in aroha.

Hindustani Gopikavasant has greater resemblance to the

Karnatak raga Hindolavasanta (which is also a janya of

Natabhairavi) than to Gopikavasanta. Hindolavasanta.has the

following aroha and avaroha—

स गू म प धू नि सं—सं नि धू प म धू म गू स

(See Hindolavasanta)

Compositions in Gopikavasant are—

Ye Kahe Ho Mohe Manavo—Trital (Vilambit)

—S. N. Ratanjankar.

85

GOPIKAVASANT

Samajha Mane Pache Bola—Trital (Madhya)

—G. N. Natoo.

Ayee Chabili Sakhi—Teen tal (Madhya)—J. D. Patki.

Hindustani ragas Kokilapancham, Pancham Malakosh

and Sunderkauns are allied to Gopikavasant.

Kokilapancham— Ni is not used in this raga. (See Kokila

pancham).

Pancham Malakosh—Pa is not used in aroha. (See Pancham

Malakosh).

Sunderkauns--Pa is not used in avaroha (See Sunderkauns).

Karnatak

Gopikavasanta of Karnatak sangeet is derived from the

20th Melakarta Natabhairavi (ri, gi, ma, dha, ni). This

corresponds to Asavari That. Gopikavasanta is an Audava

—Shadava raga. In aroha Ri and Ga are omitted. In avaroha

Ri is dropped. Aroha and avaroha of Gopikavasanta are :

म1 नि2 ध1 नि2 सं—सं नि2 ध1 - प - म ग2 स

Svaras used are Sadharana Ga, Suddha Ma, Suddha Dh

and Kaisiki Ni. According to Hindustani notation aroha and

avaroha are :

स रि गू म प धू नि —सं नि धू पम गू रि स

It will be seen in the above aroha that Ga is not used.

In Hindustani raga Gopikavasant Ga is used in aroha.

Gopikavasanta is not a popular raga in the South.

Hindolavasanta which resembles the above type of Gopika-

vasanta is more popular. (See Hindolavasanta).

According to Dikshitar School, jati of Gopikavasanta is

Sampoorna—Sampoorna with vakra sancharas in both aroha

and avaroha as under—

स रि2 ग2 म1 प ध1 नि2—सं नि2 ध1 प म1 ग2 रि2 स

According to Hindustani notation the aroha and avaroha

are :

स रि गू म प धू नि —सं नि धू प म गू रि स

A composition with above aroha and avaroha is :

Balakrishnam Bhavayami (Sanskrit) - Adi Tala

—Muttuswami Dikshitar.

86 RAGANIDHI GORAKH KALYAN Hindustani This is a raga which has become popular during the last twenty years. It is said to have been composed by Saint Gorakhnath. Gorakh Kalyan belongs to Khamaj That (Harikamboji). Regarding its jati there are two types. (1) Chatusvari-Shadava and (2) Audava-Shadava. In the Chatusvari-Shadava type Ga, Pa and Ni are omitted in aroha. In avaroha Ga is dropped. Aroha and avaroha of this type are— स म रि नि सं ध सं—रिं नि . ध़ड म . प ध नि ष म रि . रि स नि .नि . ध़ स The aroha of this type sounds like that of raga Bhavani. In the Audava-Shadava type Ga and Pa are omitted in aroha, and Ga in avaroha. Aroha and avaroha of this type are— स .म रि नि . ध नि ध सं—रिं नि . ध़ड म - प ध नि ष म रि . रि स नि . नि . ध़ स Avarohaṣ of both the types are alike. The Audava-Shadava type is the one which is more popular. Pakad or Gunjan svara groups are— रि स नि .S and नि . ध़ स In mandra saptak are :characteristic of this raga and sound beautiful. Vadi is Ma, Samvadi Sa. Some halting on, or making mandra Ni as nyasa svara in avaroha as रि स नि .S sounds very beautiful. Greater importance should be given to meend work and "tanbaji" should not be indulged in. In the type in which Ni is used in aroha there is chaya of Bageshree. But absence of Ga removes that chaya very soon. Although it is called Gorakh Kalyan, Tivra Ma is not used at all. Komal Ni is prominently used, This raga is sung before midnight and is very appealing. It has gambhirya. Popular compositions in Gorakh Kalyan are,

87 1. Dhana Dhana Bhag - Trital - (Vilambit) 2. Sajani Jeeya Mora - Trital - (Madhyay) The following Hindustani ragas have some resemblance to Gorakh Kalyan. But none of them has the svara groups रि स नि .S - नि . ध़ स with which the raga Gorakh Kalyan ends in a magnificent way. Bhavani :-Ni and Pa are not used in either; aroha or avaroha. Jaya Bhavani:-Pa is not used at all. Svaragroup नि . ध़ स is used at the end of the raga to introduce the Jayjayavanti chaya (See Jaya Bhavani). Hamsamanjari-Sindhura anga is prominent as रि म प निऽS - ध म प ड (See Hamsamanjari) Narayani-Surdasi Malhar anga is prominent, Svaragroud रे स प नि ध प म रिऽS is much in evidence. In poorvanga chaya of Durga is clearly seen. (See Narayani). Karnatak There is no Karnatak raga called Gorakh Kalyan. Avaroha of raga Andolika which is derived from the 28th Melakarta Harikamboji (Khamaj That) has some resemblance to Gorakh Kalyan. Aroha and avaroha of Andolika are— स रि म प ध नि स—सं नि ध न रि स Svarapa is not used in avaroha. Andolika has greater resemblance to Sorat of Hindustani sangeet than to Gorakh Kalyan in both Aroha and Avaroha (See Sorat). Karnatak raga Narayani has some resemblance to Gorakh Kalyan in avaroha. Narayani of South has the following aroha and avaroha— स रि म प सं—सं नि प म रि स. (See Narayani) GOUD Hindustani Raga Goud belongs to Kafi That (Kharaharapriya). It is an

mixture raga. It is formed by the combination of Malhar and Kanada ragas. Its jati is Shadava-Sampoorna. Ga is omitted in aroha. Aroha and avaroha of Goud are—

नि स· रि म· रि प· म प· ध सं· नि से·दे· ध पि·ध प· म प· गू मरिस.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh, and both Komal and Tivra Ni. Tivra Ni is only used as an appendage svara while coming to halt on सं as नि सं. There are vakra sanchras in both aroha and avaroha. Pakad or diagnostic svara groups are—

म प· ध सं· ध नि सं· ध नि·प· म ग· म रि सं· नि स·

Vadi is Pa andSamvadi Sa. Sangatis रि प, धि रि प, म प ध सं, गू म रि सं and म प ध नि सं (Tivra Ni as kick svara) are used. This raga has chayās of Goud Malhar and Mia′ Malhar. There is also slight chāyā of Shahana raga. But the svara groups म प· ध सं· ध रि सं give raga Goud a distinct svaroop of its own.

In this raga in many sanchāras of avaroha there is chāyā of Karnatak raga Kanada. This raga is sung during the third prahara of night. Compositions in raga Goud are,

Yeri Ab Mai Kon Upaya Karoo—Ek Tala (Vilambit),

Sundara Suratiya Tehāri—Trital (Madhyā).

Karnatak

There is no Karnatak raga:called only Goud. There is a raga called Gaula which has no resemblance to the Hindustani Goud.

There is no Karnatak raga which resembles Goud partially in aroha.

GOUDI

Hindustani

This is an unfamiliar raga belonging to Bilaval That (Dheerasankarabharana). Its jati is Audava-Sampoorna. Ri and Dh are not used in aroha. Aroha and avaroha of Goudi are—

स· ग· प· म प· ध नि·सं—सं· ध प· ध नि·प· ध पि·म रि·म ग·रि स

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, both Komal and Tivra Ni and Tivra Dh. There are a number of vakra-sancharas in avaroha. Vadi is Ma and Samvadi Sa.

This raga is supposed to be a mixture of Bilaval, Sorat and Malhar ragas. Sangatis रि प and नि प give a characteristic beauty to this raga. Svaras groups ध नि·प· म रि प are attractive. A composition in this raga is :-

Kalana Parata Mohe—Jhap Tal (Vilambit).

Raga Goudi is different from Goud (See Goud).

Karnatak

There in no Karnatak raga which resembles the Hindustani Goudi.

GOUD MALHAR

Hindustani

Goud Malhar is put under Kafi That (Kharaharapriya) although Tivra Ga and occasionally Tivra Ni are also used. Its jati is Audava-Sampoorna. Ga and Ni are omitted in aroha. Aroha and avaroha of Goud Malhar are :-

स रि· म· प धि प· म प· ध सं· सं प नि प म· ग· रि स or म प· ध सं· सं नि ध प· म ग· रि स

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Pakad or diagnostic svara groups are—

रि ग· म प· ग रि स· रि त· प म·. वादि स्वर is Ma. Samvadi is Sa. This raga is a seasonal raga (Mosami) meant for the rainy season. It is sung during the fourth prahara of the day. In this raga sangatis रि प and म रि are frequently used. Frequent use of the following groups of svaras are characteristic of Goud Malhar :-

रि ग· रि म ग रि स; रि प· म प धसं· ध प मड; नि प· म प· ध सं प मड.

Angas of Goud and Malhar are :-

Goud—रि ग· रि म ग. Malhar रि प· म प ध सं.

In this raga nyāsa (halt) on Ma is beautiful. Popular compositions in Goud Malhar are :-

Kaye Ho-Jhumra Tal (Vilambit).

Balama Bahar Ayee—Trital (Drut).

90

RAGANIDHI

The following Hindustani ragas are allied to Goud Malhar. Goud Sarang:-Svara groups न रि म ग - प is are frequently used. (See Goud Sarang).

Sajan :-Tivra Ni is used in the svara group म घ नि सं. Ri and Pa are not used in aroha. (See Sajan)

Bhavasakh :-Komal Ni is not used. (See Bhavasakh).

Karnatak

Karnatak Goud Malhar has no resemblance to the Hindustani Goud Malhar. Karnatak Goud Malhar is a janya of the 29th Melakarta, Dheerashankarabharana (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of North. Its jati is Audava-Shadava. Pa and Ni are omitted in aroha and Pa in avaroha.

Aroha and avaroha of Goud Malhar are :-

स रि2 म1 प ध2 स--स नि2 ध2 म1 ग2 रि2 स.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatsruti Dh, and Kakali Ni.

According to Hindustani notation the aroha and avaroha are :

स रि म प ध स--स नि ध म ग रि स.

It is interesting to note that the aroha of Karnatak Goud Malhar resembles that of the well known Hindustani ragas Durga, (Suddha Saveri) and Khambavati and the avaroha that of Hindustani Rageswari. , Dhuniarla

Although Goud Malhar is a rare raga, the following composition is heard frequently:

Sarasamukhi Saka/a--RupakaTala--Muthiah Bhagavatar.

GOUD SARANG

Hindustani

Goud Sarang belongs to Kalyan That (Mechakalyani.) Its jati is Sampoorna-Sampoorna. There are many vakra sancharias in both aroha and avaroha which are :

स - ग रि म ग - प म ध प - नि ध स--स प - नि ध प - म म ग रि म ग - प रि स or सं - नि ध प - मं प म ग रि म ग - प रि स.

91

GOUNDGIRI

Svaras used are Tivra Ri, Tivra Ga, both Suddha Ma and Prati Ma, Tivra Dh and Tivra Ni. Pakad or diagnostic svara groups are :-

स - ग रि म ग - प रि स and सं - ् प - म ग - म ग रि म ग.

Vadi and Samvadi svaras are Ga and Dh. Some suggest the reverse arrangement. Sangati प ध is frequently used.

Although called Goud Sarang this raga has no chaya of Sarang in it. Vakra sancharias of this raga make it entirely different from ragas Kamod, Kedar, Chayanat and Hamir. Svara Ga should be kept scintilating in this raga. Time for singing this raga is the 2nd or 3rd prahara of the day. There are chayas of Bilaval and Kalyan ragas in Goud Sarang. Popular compositions in this raga are :

Kajara Re--Ek Tal (Vilambit).

Piya Palan Lagi Mori Ankhiyan--Teen Tal (Drut).

The following Hindustani ragas are allied to Goud Sarang. Goud Malhar--Only Komal Ma is used. Halt on Ma is prominent. Vadi svara is Ma. (See Goud Malhar).

Yamani Bilaval--Ending of the raga is with svaras ग म ग रि - स रि स. (See Yamani Bilaval).

Karnatak

There is no Karnatak raga called Goud Sarang. Certain sancharias of Sankarabharana resemble those of Goud Sarang. But Tivra Ma is not used in Sankarabharana.

The kriti " Muddu kumarayane " (Tamil) in Sankarabharana has the style of Goud Sarang in it.

GOUNDGIRI

Hindustani

Goundgiri [is an unfamiliar raga belonging to Kafi That (Kharaharapriya). It is an Audava-Shadava raga. In aroha Ri and Dh are omitted. In avaroha Dh is omitted. Aroha and avaroha of Goundgiri are :

स - स म म - प ग म - नि प - स--सं - त्रि प - ग म रि - स स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma and Koma

Ni. Vadi svara is Ma. Samvadi is Sa. Commencement of raga with ससम is characteristica. Double svara स स is used frequently. Goundgiri has resemblance to Hindustani ragas Suha, Sugharayee, Nayaki Kanada and Deshakhya. (See Suha, Sugharayee, Nayaki Kanada and Deshakhya). The following compositions in this raga are available. Suguna Bicharale Re Bamana – Ada Choutal (Vilambit). Sakhi Piya Nahi Aye – Trital (Madhya).

Karnatak

There is no Karnatak raga called Goundgiri. This raga sounds like a mixture of two Karnatak ragas Suddha Dhanyasi and Pushpa Latika with aroha of the former and avaroha of the latter. The combination will be as under :

स गुं म प नि सं-सं नि प म गु रि स

This combination sounds beautiful. If the required vakra sancharas are introduced then raga Goundgiri will result.

GOURAKALYAN

Hindustani

This raga is different from Gorakh Kalyan. Goura Kalyan is said to be an old raga which has fallen into disuse. At present it is an unfamiliar raga. Lord Shankara is said to have taught this raga to Shree Narada. This raga is supposed to be a combination of Bhoop, Bihag and Hamir ragas. Goura Kalyan belongs to Kalyan That (Mecha Kalyani). Its jati is Audava-Shadava. Ri and Dh are omitted in aroha. Ni is dropped in avaroha. Aroha and avaroha of Goura Kalyan are :

प ध पू -स स -स म ग म प -नि सं-रि सं -ध प -ग म रि स

Svaras used are Tivra Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dh, and Tivra Ni. Both varieties of Ma are used in aroha. In avaroha only Suddha Ma is used. Vadi svara is Ga, Samvadi is Ni.

Commencement of this raga (उदाव) is as under.

ग रि स -ध पू -प म -स म ग -प ग -रि स.

Chalan or trend of the raga is indicated by, स पंम -रि स.

ग रि स-मग-प धा म रि -म-व-ना म रि स। प-धा-म प-नि सं-रि सं -ध प-तारि स। स-पं ध-प-सम ग प ग -रि स।

A composition in this raga is :

Ajahoo Na Aye Piya-Jhumra Tal (Madhya).

Goura Kalyan has great resemblance to Hema Kalyan. But in Hema Kalyan Prati Ma is not used (See Hema Kalyan).

Karnatak

There is no Karnatak raga called Goura Kalyan nor any which resembles Hindustani Goura Kalyan.

GOURANJANI

Hindustani

Gouranjani is an unfamiliar raga belonging to Poorvi That (Kamavardhini). Its jati is Audava-Sampoorna. Ri and Dh are omitted in aroha. Aroha and avaroha of Gouranjani are :

ति स -मं ग -प निस्स सं-सें सं मि -धूप -मं ग -मं ग रि -स -नि स मं ग

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Komal Dh and Tivra Ni. Pakad or Gunjan svara groups are, ति स -मं ग -प मं -ग रि स -नि स मं ग, Vadi is Pa, and Samvadi is Sa. Sangati रे ग is frequently used in aroha as रड मं ग -रे ग. This raga has to be sung after the style of raga Mooltani. In Mooltani Ga is Komal. In Mooltani sangati प र is used frequently and not रे ग. The following svara groups although sung in Mooltani style have a different effect. ति स मं ग -नि स मं ग प मं ध प -संप गड मं प निस्स. In this raga, chhaya of Pooria Dhanashree, Basant, Jetashree, and Mooltani are found. This is an evening raga. Compositions in this raga are :

Kaisi Bajayee Kanha-Tilvada (Vilambit). J. D. Patki. Phularahi Belariya-Trital (Madhya)—J. D. Patki.

The following ragas are allied to Gouranjani. Pooria Dhanashree-Svara groups मं ध प -नि धि स-नि धू, नि are used (See Pooria Dhanashree).

Basant—स ं रि ग़ ं and ं ध ं प ं are used. (See Basant).

Jetashree—स ग प is used. (See Jetashree).

Mooltani-Ga is Komal. (See Mooltani).

Karnatak

There is no Karnatak raga called Gouranjani. There is no Karnatak raga corresponding to the Hindustani raga Gouranjani. Karnatak ragas Gaulipantu and Deepaka have some resemblance to Gouranjani. (See Gaulipantu and Deepaka).

GUHARANJINI

Hindustani

There is no Hindustani raga called Guharanjini. This is an interesting raga which can be included among those that belong to Khamaj That.

Karnatak

Guharanjini is derived form the 28th Melakarta Harikamboji (ri, gu, ma, dhi, ni) which corresponds to Hindustani That Khamaj. Its jati is Shadava-Shadava. Ga is omitted both in aroha and avaroha. Its aroha and avroha are—

स रि2 म1 प ध2 नि2 सं—स नि2 ध2 प म1 ग3 स.

Svaras used are Chatusruti Ri., Antara Ga, Suddha Ma, Chatusruti Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are—

स रि स म प ध नि सं—स नि ध प म ग स

There are vakra sancharas both in aroha and avaroha. Guharanjini is not a popular raga. A composition in this raga is :-

Ikhane Tala—(Telugu)—Adi Tala—Muthiah Bhagavatar.

GUJJARI or GHURJARI

Hindustani

There is no Hindustani raga called Gujjari or Ghurjari. Raga Bhairav has the same svaras of Gujjari or Ghurjari of South without the vakra sanchara which Gujjari has in avaroha (See Bhairav).

GUNAKALI (BHAIRAVI THAT)

Hindustani raga Gujari Todi or Gurjari Todi has no resemblance to Gujjari or Ghurjari of South.

Karnatak

Gujjari or Ghurjari belongs to the 15th Melakarta, Mayamalavagaula (ra, gu, ma, dha nu) which corresponds to the Hindustani Bhairav That. Gujjari is a Sampoorna-Sampoorna raga with vakra sanchara in avaroha. Aroha and avaroha of Gujjari are :-

स रि1 ग3 म1 प ध1 नि3 स—स ं ध1 नि3 प म1 ग रि1 स.

Svaras used are Suddha Ri, Antara Ga, Suddha Ma, Suddha Dh and Kakali Ni. There is a vakra sanchara स ं ध नि प in avaroha. According to Hindustani notation the aroha and avaroha are :-

स रि ग म प ध नि सं—स ं ध नि प म ग रि स.

Gujjari or Ghurjari is not a popular raga. The following composition in this raga is 'available.

Varalandu Kommani (Telugu) – Adi Tala – Tyagaraja.

GUNAKALI (Bhairavi That)

Hindustani

This raga is also called Utari Gunakali and belongs to Bhairavi That (Hanumatodi). This raga is formed by the fusion of Asavari and Bhairavi ragas. Its jati is Sampoorna. The aroha and avaroha are:-

स रि ग म प ध नि सं—स ं नि ध प म ग रि स

Svaras used are all Komal svaras. Pakad or Gunjan svara groups are : न —स प ध—प म ग—म ग रि स. Svaragroups ध म —प ध and स ं ध are indicative of Asavari. Vadi is Sa and Sanwadi Ma. This is a morning raga.

This type of Gunakali is not a popular type. It is known only to some musicians of Northern India. It is a difficult raga. Asavari chaya has to be brought out by using only svaras of Bhairavi That, as the Todi effect in Bilaskhani Todi, and Asavari effect in Komal Asavari.

Trend of Utari Gunakali is as under :

निसं-ध-प-नि धुप म-प धम-प-गु महिस-मरि लि-स

दिम-मग-म प-लिसं-गे रे'-सं नि सं-ध-प-पशनिसं-ध नि

धप-धप-पग-मग-मति-रि-स.

A composition in this raga is :-

Tana Nadir Dir Tom (Tarana) - Trital (Madhya).

Hindustani raga Suddha Bhairavi resembles Utari Gunakali.

Suddha Bhairavi - Chaya of Asavari is avoided.

(See Suddha Bhairavi).

Karnatak

There is no Karnatak raga called Utari Gunakali. Karnatak raga which resembles Utari Gunakali is Todi. (See Todi).

GUNAKALI (Bilaval That)

Hindustani

Gunakali of Bilaval That (Deerasankarabharana) is different from Gunakali of Bhairavi That and also a raga called Gunakree which belongs to Bhairav That.

There are three types of this raga but none of them is popular 1. Audava–Sampoorna. 2. Audava–Shadava. 3. Chatusvari – Shadava.

TYPE I

Aroha and avoroha of Audava--Sampoorna type are :-

स - रि ग - प ध स—सं नि ध - नि धप - सं सं ध प

म म रि स - ध प - स.

Ma and Ni are omitted in aroha. Svaras used are all Suddha svaras of Hindustani sangeet. Vadi is Sa and Samvadi Pa. This raga sounds like a mixture of Kalyan and Bilaval. It sounds like Suddha Kalyan with Komal Ma in place of Tivra Ma. This is an evening raga.

Type II

Aroha and avaroha of Audava Shadava type are:

स - रिड म - प - से ध से—सं निड ध - प - ग - प रिड स

Ma and Ni are omitted in aroha. In avaroha Ma is not

used. Svaras used are all Tivra svaras. This type also sounds like Suddha Kalyan. But Ri and Ni are kept 'elongated. The ending of the raga with न - प ध स is also characterstic. A composition in this type of Gunakali is—

Garava Kare Jo Apane—Trital (Madhya).

Type III

In the Chatusvari - Shadava type Ri, Ma and Ni are omitted in aroha. In avaroha Ni is not used. Its aroha and avaroha are

स ग म प ध स—रे ग म प ध स

स - रे ग - म प - ध स

Svaras used are only Suddha svaras. Svaragroup रि ग is uttered quickly in avaroha. This produces a peculiar effect. It is an interesting raga. Compositions in this type of Gunakali are —

Ye Bhora Bhayi Ayili—Tilvada (Vilambit).

Ab Tuma Apani ore—Teen tal—(Madhya).

Karnatak

There is no Karnatak raga called Gunakali, nor any Karnatak ragas which resemble the above types of Gunakali.

GUNAKREE

Hindustani

Raga Gunakree belongs to Bhairav That (Mayamalavagaula). There are two ragas called Gunakali which belong to Bilaval and Bhairavi Thats respectively. Another raga called Gundakriya is popular in Bengal. These ragas are entirely different from Gunakree. Jati of Gunakree is Audava-Audava. Ga and Ni are omitted in both aroha and avaroha. Aroha and avaroha of Gunakree are :

स रि म प ध से—से ध - प म रि स

Svaras used are Komal Ri, Suddha Ma, and Komal Dh. Pakad or diagnostic svara groups are :

स - धुप-मप म हि रि-स-रि - ध - स - रि रि स

Vadi svara is Dh, Samvadi is Ri. Svaragroup स रि म with

meend is to produce Bhairav effect. Sangati म रि is frequently used. In Gunakree sangati प म is not used. Ri is not elongated. These two features are prominent in Jogia. Hence in Gunakree these svaras are used as under.

प म रि म and as प म रि5 स

This is considered to be a high class raga. It has Gambhir-ya or dignity in it. To bring about its full effect this raga should be sung slowly. This is a morning raga.

Compositions in Gunakree are :

Damaru Hara Kara Baje—Tevra (Madhya).

Rupa Anupama Aj Gavo—Tevra (Vilambit)

—S. N. Ratanjankar.

Hindustani raga Jogia is allied to Gunakree. Raga Kshanika also has some resemblance to Gunakree.

Jogia—Suddha Ni is used in avaroha. Sangathi प म with Ri elongated is used as प म रि5 स (SeeJogia).

Kshanika—Svaras Ga and Pa are not used. (See Kshanika).

Karnatak

There is no Karnatak raga called Gunakree. Karnatak raga Gundakriya is a different raga and has no resemblance to the Hindustani Gunakree.

Karnatak ragas Saverí, Malahari, Saranga Nata, Padi, Suddhakriya and Salanga Nata resemble Gunakree but with certain differences.

Saveri - Aroha resembles Gunakree. In avaroha Ni and Ga are also used (See Saverí).

Malahari—Aroha resembles Gunakree. In avaroha Ga is used (See Malahari).

Saranga Nata. In aroha Ni is used in Vakra sanchara. In avaroha both Ni and Ga are used. (See Saranga Nata).

Salanga Nata—Aroha is like Gunakree. In avaroha Ga is used and not Ma. (See Salanga Nata).

Suddakriya—There is vakra sanchara in aroha. Svará Ga is used in avaroha. Aroha and avaroha of Suddha-kriya are :

GUNDAKRIYA

स रि प म धु सं—सं रि प म ग रि स

(Suddha-kríya is a janya of 15th Melakarta Mayamala-vagaula).

Padi-Ni is used in both aroha and avaroha. (See Padi).

GUNDAKRIYA

Hindustani

There is no Hindustani raga called Gundakriya. In Bengal raga Gunakali using both Komal and Tivra Ma is called Gundakríya. It is put under Poorví That. This raga however is not popular.

Karnatak

Gundakríya is a janya of the 15th Melakarta, Maya-malavagaula (ra, gu, ma, dha, nu) which corresponds to Hindustani Bhairav That. Gundakríya is an Audava-Sampoorna raga. Ga and Dh are omitted in aroha. Aroha and avaroha of Gundakríya are :

स रि1 म1 प नि3 सं—सं नि3 प ध1 प म1 ग3 रि1 स.

Svaras used are Suddha Ri, Antara Ga, Suddha Ma, Sud-dha dha, and Kakali Ni. There is a vakra in sanchara avaroha.

According to Hindustani notation the aroha and avaroha are :

स रि म प ध सं — सं नि प ध व म ग रि स

Suddha Ri, Suddha Ma and Kakali Ni are the raga chhaya svaras of Gundakríya. This is not a popular raga. The following composition in this raga is available :

Intanuchu varnimpa tarama (Telugu)—Adi Tala.

—Tyagaraja.

Gundakriyális associated with melting the stone. This raga is said to possess the power to melt stones. There is an interesting story describing how boastful Narada was stuck up in a stone on which he was sitting, and the stone was made to melt when the raga Gundakríya was sung by Hanuman, who wanted to put Narada to shame.

According to Dikshitar School, Gundakríya is a Sampoorna

Sampoorna raga with vakra sanchara in avaroha. Aroha and avaroha are,

स ri1 ग3 म1 प ध1 नि3 सं—सं नि3 ध म1 ग3 म1 ध प म1 ग3 ri1 स

A composition in the above type of Gundakriya is—

Raja Rajendra Chola (Sanskrit)—Triputa Tala—Muttu-sami Dikshitar.

GUNJI KANARA

Hindustani

This is a mixture of Malgunji and Kanara ragas. Its jati is Shadava- Sampoorna. In aroha and avaroha Ri is omitted.

Aroha and Avaroh of Gunjikanara are :-

पु ri1 नि ग - स - म प धSS : म - नि ध नि सं—धु धु नि सं—हिं सं नि ध

नि प - म प ध म - ग म प धु म - ग ri स

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma both Komal and Tivra Dh and Komal Ni.

Malgunji— पु ri1 नि ग - स - धु ग म ग ri स धु नि स ग म . Kanara म ri स. Gunji Kanada is not a very popular raga. The following compositions are available.

Sudhe Sugandhava—Ektal—(Vilambit)

Shankara Rao Vyas.

Piya Milana Kaisi Javogi—Teental (drut)

Shankara Rao Vyas.

Karnatak

There is no Karnatak raga called Gunji Kanada, nor which resembles this Hindustani raga.

GUJARI TODI or GURJARI TODI

Hindustani

Gujari Todi is also called Gurjari Todi. It belongs to Todi That (Subhapantuvarali).

Its jati is Shadava-Shadava. Pa is omitted in both aroha and avaroha. Aroha and avaroha of Gujari Todi are :-

नि सं—सं नि सं - ri1 नि - धु धु - मं-धु नि - मं गु -दि ri स

मं धु धु - मं गु दि स

Svaras used are Komal Ri, Komal Ga, Tivra Ma, Komal Dh and Tivra Ni. Pakad or diagnostic svara groups are :-

This raga may be considred to be Todi without Pa. Vadi is Dh, Samvadi is either Ga or Ri. Raga vistara of Gujari Todi should be in madhya and tara saptaks. This is a morning raga.

Compositions in this fairly popular raga are :

Ja Ja Re Patangava More-Jhumra Tal (Vilambit).

Aj Ghar Ayila Mere Lal—Trital (Drut).

Allied Hindustani raga is Todi.

Todi—Svara Pa is used. Poorvanga is more prominent, (See Todi)

Karnatak

There is no Karnatak raga called Gujari or Gurjari Todi. There is a raga called Gujjari or Ghurajari which does not resemble Hindustani Gujari Todi. Karnatak raga Shekhara Chandrika which is a janya of the 45th Melakarta Shubhapanthuarali, (Todi That) resembles the Hindustani Gurjari Todi. Aroha and avaroha of Shekhara Chandrika are :

स ri1 गु मं नि धु नि सं—सं नि धु म ग ri स.

Shekhara Chandrika is a rare raga.

HAMIR or HAMIR KALYAN

Hindustani

Hamir, which is also called Hamir Kalyan, is a very popular Hindustani raga belonging to Kalyan That. (Mecha Kalyani).

Its jati is Sampoorna-Sampoorna. Aroha and avaroha of Hamir are :

स ri स - ग म ध - नि ध सं—सं नि ध प - ध नि प - ग म प ध

प - ग म ri स.

Svaras used are Tivra Ri, Tivra Ga, both Komal and Tivra Ma, and both Komal and Tivra Ni. Pakad or Gunjan svara groups are:- स - ri स - ग म ध. There are vakra sancharas in both aroha and avaroha. Vadi is Dh and Samvadi

Ga. Some suggest Pa as Vadi. Tivra Ma is used only in avaroha. Komal Ma is used in both aroha and avaroha. It is possible to sing this raga without Tivra Ma being used at all, but by keeping Dh prominent. Although the aroha is considered to be Sampoorna only the following svaras are used giving it a Shadava appearance. स ri ग म ध—नि ध सं Svaragroup ग म ध—with Dh elongated is a feature of this raga. Komal Ni is found in the sanchara ध नि ग - ग म ध. The following groups of Svaras are frequently used :-ग म ध नि सं - प ध ri सं-नि सं ध प - म प ग ri - प ग म ध.

The following compositions in Hamir Kalyani are popular: Chameli Phuli Champa-Tilpada (Vilambit). Dheetalangarava Kaise-Trital (Drut). Natha Seetapate Raghuwara-Tevra Tal (Madhya). Hindustani ragas Kedar and Kamod are allied to Hamir. Kedar-Vadi is Ma and Samvadi Sa. Sangati स म ग is frequently used. Ga is weak or durbal. Use of both kinds of Ma as शु म is occasionally permitted. (See Kedar). Kamod-Vadi is Pa and Sanmvadi Ri. Sangati ri ग is frequently used. (See Kamod).

Karnatak

Karnatak raga Hamir Kalyani is a janya of the 65th Melakarta Mecha Kalyani (ri, gu, mi, dhi, nu), which corresponds to Hindustani Yaman or Kalyan That. Some consider this to be an Audava-Sampoorna raga with Ri and Dh omitted in aroha. Aroha and avaroha of the two types are :

Type 1. स प म2 प ध2 नि3 सं-सं नि3 ध2 प म2 ग2 ri2 स

Type 2. स ri2 ग2 म2 प ध2 - नि3 प ध2 प सं-सं नि3 ध2 प म2 ग2 म1 ग2 ri2 स

Svaras used are Chaturasruti Ri, Antara Ga, both Suddha and Prati Ma, Chaturasruti Dh and Kakali Ni. In aroha Prati Ma and in avaroha Suddha Ma are used. According to Hindustani notation the aroha and avaroha are :

Type 1. स प म प ध नि सं—सं नि ध प म ग ri स

Type 2. स ri ग म प ध नि प ध सं—स नि ध प म ri स

HAMIR NAT

Type 2. स ri ग म प ध नि प ध सं—स नि ध प म ग ri स.

Hamir Kalyani is supposed to be a North Indian raga imported to the South several decades ago. Some pronounce the name of this raga as Amir Kalyani.

In the Hamir Kalyani of South chayas of Hindustani Kedara are found.

Although Hamir Kalyani is not a very popular raga the following compositions in this raga are often heard :

Manamu Leda Tanavadani (Telugu)—Adi Tala—Tyagaraja. Venkatasaila vihara - Adi Tala - Subbarayasastri.

HAMIR BAHAR

Hindustani

Hamir Bahar is formed by combing the two ragas Hamir and Bahar which are very popular. They are both night ragas and so also this compound raga. The trend or Chalan of Hamir Bahar is as under.

ध नि -संधप -मपम - त्रीधनि - सेri' - नि सं १ ध ri - ri' संधनि - धमप - ri ri प - ग म ri स - सं ri' ध ri से ।

प सं संड ri सं - नि नि नि नि . संड सं . प ri ध प - ग म ri स - सं ri' ध ri से - ध - ध नि सं

स - सं ri - प ध सं से - से सं- ri' ग म सं ri से सं . ध - ध नि सं

Svaras used are Tivra Ri, both Komal and Tivra Ga, both Suddha and Tivra Ma, Tivra Dh, and both Komal and Tivra Ni.

Hamir Bahar is not yet popular. A composition in this raga is,

Kanha Machawe Bahar—Trital (Madhya).

Karnatak

There is no Karnatak raga called Hamir Bahar. There is no Karnatak raga which resembles Hamir Bahar.

HAMIR NAT

Hindustani

Hamir Nat is a combination of the two ragas Hamir which is well known and Nat which is not so well known.

104 RAGANIDHI

Poorvanga of Hamir Nat consists of Nat and Uttaranga of Hamir. Hence svaroop of Nat is found in aroha and that of Hamir in avaroha of this compound raga. In Nata only Suddha Ma is used. In Hamir Nat both Suddha and Prati Ma are used. Tanas of Nat consist of Tanas of Chayanat with Prati Ma omitted. Tanas of Hamir consist of both Suddha and Prati Ma. This is the secret of singing Hamir Nat. Chalan of Hamir Nat is as under.

रि स रि ग म रि ग म प ग म रि स ।स रि स रि ग म रि स नि स रि ग मं ।

प व सं ध वि म प प म रि स प म व सं ।स रि स नि सं ध प ग म रि रि ग म रिस ।

रि सं सं रि नि सं ध प ग म रि रि ग म रिस ।

स प ग म रि स सं स ध वि नि म प प सं ।स रि ग म रि स नि स रि ग मं रि नि स सं ।

रि नि स सं ध वि म प व प म रि रि ग म रिस ।

प म प रि स सं स ध नि म प मं ध नि स सं ।रि ग मं ध प व म रि स रि नि स रि ग म प ।प म रि नि स सं ध नि म प प म रि स रि ।

म ।

Hamir Nat is not a popular raga. A composition in this raga is :- Tore Dekhanako Mora Jeeva—Ek Tal (Vilambit)

There is no Karnatak raga called Hamir Nat. Karnatak raga Saranga has some resemblance to Hamir Nat. If Ma is not elongated as is done in Saranga, then it will have some remote resemblance to Hamir Nat (See Saranga).

HAMSABHRAMARI Karnatak

There is no Hindustani raga called Hamsabhramari. Hindustani raga Madhuvanti has some resemblance to Hamsa-

105 HAMSADHVANI

bhramari. In Madhuvanti Tivra Ni is very much in evidence. Komal Ni is occasionally used (during recent years) for ranjakatva. Aroha and avaroha of Madhuvanti are :-

नि स ग मं प नि सं—सं नि ध प म ग ri स

(See Madhuvanti).

Karnatak

Hamsabhramari is a janya of the 58th Melakarta Hemavati (ri, gi, mi, dhi, ni). Its jati is Shadava-Sampoorna. Ni is omitted in aroha. Aroha and avaroha of Hamsabhramari are :

स रि ग म प ध नि—सं म नि , ध प म ग ri स

Svaras used are Chatsrutti Ri, Sadharana Ga, Prati Ma, Chatsrutti Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

स रि ग म प ध सं—सं नि ध प म ग ri स ।

Hamsabhramari is not a popular raga. A composition in this raga is :

Paramatmane (Kanarese)--Roopaka Tala. —Muthiah Bhagavatar

HAMSADHVANI Hindustani

Karnatak raga Hamsadhvani is becoming popular in the North. Hamsadhvani is placed under Bilaval That (Dheera-shankarabharana). Its jati is Audava-Audava. Ma and Dh are omitted completely. Aroha and avaroha of Hamsadhvani are :

स रि ग प नि—सं नि प ग रि स

Svaras used are all Tivra svaras. Pakad or Gunjan svara groups are :- ग प नि सं—ग नि सं प ग रि ।नि रि स । Vadi is Pa and Samvadi Sa. Ri is a beautiful halting svara. This raga is sung during the first prahara of night. Popular compositions in Hamsadhvani are :

Balama Na Javo—Trital (Madhya). Kari Ho Sakhi—Trital (Madhya)—J. D. P. Patki. Yuvati Mana Daruna—Dadra (Karnataka Roopaka Tala).

9

The last mentioned composition is a Marathi stage song from the play Manapaman. It is an imitation of the Telugu Kriti, Manasu Karagademo. by Pattanam Subbramanya Iyer. This stage song is very popular in Maharashtra.

Hindustani ragas Hamsa Kalyan, Shankara, and one type of Malashree resemble Hamsadhvani.

Hamsa Kalyan—Avaroha is Sampoorna with all Tivra svaras. (See Hamsa Kalyan).

Shankara- Dh is used in the sanchara नि ध सं नि. (See Shankara).

Malashree-In one type of Malashree which resembles Hamsadhvani, Ri is not used. (See Malashree).

Karnatak

Hamsadhvani which is a very popular raga is said to have been composed by Ramaswamy Dikshitar, father of Muttu-swamy Dikshitar. This raga is therefore not a very old one. Hamsadhvani is not mentioned in ancient books.

Hamsadhvani belongs to the 29th Melakarta Dheera-sankarabharana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bilaval That. It is an Audava-Audava raga. Ma and Dh are omitted. Aroha and avaroha of Hamsadhvani are :

स रि2 ग3 प नि3 स—स नि3 प ग3 रि2 स

Svaras used are Chatsruti Ri, Antara Ga, and Kakali Ni. Accordlug to Hindustani notation the aroha and avaroha are :

स रि ग प नि स—स नि प ग रि स

Andolan on svaras Ga and Ni sounds very pleasing.

Aroha and avaroha of Hamsadhvani of North and South are identical.

Music concerts in South very often commence with a composition in Hamsadhvani. The following compositions in this raga are very popular :

Vatapi Ganapatim Bhajeham (Sanskrit)—Adi Tala — Muttuswamy Dikshitar.

Raghunayaka Nee Padamula (Telugu)—Adi Tala —Tyagaraja.

HAMSAGIRI

HAMSAGAMANI

Hindustani

There is no Hindustani raga called Hamsagamani, nor one which resembles this Karnatak raga which is a pleasant raga and could be introduced into Hindustani sangeet.

Karnatak

Hamsagamani is a janya of the 52nd Melakarta Rama-priya (ra, gu, mi, dhi, ni). Its jati is Sadava-Sampoorna. Ri is omitted in aroha. There are vakra sancharas in both aroha and avaroha. Its aroha and avaroha are :

स ग2 म1 प ध2 स—स नि2 ध2 प म1 ग2 रि1 स

Svaras used are Suddha Ri, Antara Ga, Prati Ma, Chatsruti Dh, and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

स ग मं प ध स—स नि धप मं ग रि स

Hamsagamani is a recent introduction and has to gain popularity yet. A composition in this raga is :

Shri Mahishasura-mardini (Sanskrit)—Roopaka Tala. —Muthiah Bhagavatar.

HAMSAGIRI

Hindustani

There is no Hindustani raga called Hamsagiri. In this Karnatak raga chayas of Jog, Mia Malhar and Malashree are found.

Karnatak

Hamsagiri is an unfamiliar raga which is derived from the 72nd Melakarta Rasikapriya (ru, gu, mi, dha, nu). Its jati is Sampoorna-Shadava. Ri is omitted in avaroha.There is vakra sanchara in avaroha. Aroha and avaroha of Hamsagiri are :

स रि2 ना2 म2 प ध3 नि3 स—नि3 प ध3 नि3 प म2 ग3 स

Svaras used are Shatsruti Ri, Antara Ga, Prati Ma, Shatsruti Dh and Kakali Ni. According to Hindustani notation, the aroha and avaroha are :

स ग म प नि नि सं—स नि प नि प म ग स

In the above, Komal Ga (ग) represents Shatsruti Ri and Komal Ni (नि) represents Shatsruti Dh of Karnatak.

A composition in Hamsagiri is :

Kamajanaka kapadutaku (Telugu)—Adi Tala.

—Tiruvottiyur Tyagayya (Gopala Dasa).

HAMSA KALYAN

Hindustani

Hamsa Kalyan is different from Hamsadhvani. Hamsa Kalyan belongs to Kalyan That (Mecha Kalyani). Its jati is Audava-Sampoorna. In aroha Ma and Dh are not used. Aroha and avaroha of Hamsa Kalyan are :

स रि ग प नि सं—स नि ध प म ग रि स

Svaras used are all Tivra svaras. This raga is called Hamsa Kalyan because in its aroha it consists of Hamsadhvani and in its avaroha of Kalyan. This combination is comparable to that of Bhoop-Kalyan or Mohana Kalyani in which aroha consists of Bhoop and avaroha of Kalyan.

Hamsa Kalyan is not a popular raga. Compositions in this raga are :

Mehar Ki Najar—Trital (Vilambit).

Mano Mano Mano—Trital (Madhya).

The following Hindustani ragas resemble Hamsa Kalyan :

Hamsadhvani—Ma and Dh are not used in avaroha. (See Shankara).

Shankara—In avaroha svara group नि ध सं नि is used. Ma is not used at all generally. Even when used slightly in avaroha, it is kept suppressed. (See Shankara).

Karnatak

There is no Karnatak raga called Hamsa Kalyan. Just like raga Mohana Kalyani it is possible to have Hamsa Kalyani in the South also.

HAMSAKANKINI

Hindustani

Hamsakankini belongs to Kafi That (Kharaharapriya). It is an Audava-Sampoorna raga. Ri and Dh are not used in aroha. Aroha and avaroha of Hamsakankini are :

नि स ग म प ग म प नि सं—नि सं नि ध प प ध प प ध म प म ग - ग - रि स - नि स

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Tivra Ga and Tivra Ni are used in avaroha. Komal Ni is sometimes used in aroha also as नि सं. Pakad or diagnostic svara groups are :

स ग म प ग़ रि स - नि स - ग - म प - म ग. Sangati ग sounds beautiful. Svara group म ध नि स is not used but म प ग़ रि स is used.

This raga possesses Dhanashree anga. Commencement (उदाय) of this raga is as under.

स ग - म प - ग़ रि स - नि इ ग - स प म - प ग.

ग - स म प - ग़ रि स - नि स ग - म - म पा - म प - नि सं - सं - नि प ध - म ग - म - नि स - ग - म - प स - प ग़रिस.

This raga is sung between 9 a.m. and 11 a.m. Hamsa-kankini is not a very popular raga. The following compositions in this raga are available.

Karata So Pandita—Jhaptai (Madhya).

Ave Ghari Kouna Kaise—Ek Tal (Madhya)—G.N. Natoo.

The following Hindustani ragas resemble Hamsakankini.

Patadeep—Only Tivra Ni and Komal Ga are used. (See Patadeep).

Bhimpalas—Only Komal Ni and Komal Ga are used. (See Bhimpalas).

Lacchari Todi - In one type Ni is not used in aroha. In another type svara groups रि ग म स at the end of avaroha are used. (See Lacchari Todi).

110 RAGANIDHI

Karnatak

There is no Karnatak raga called Hamsakankini nor one which resembles Hamsakankini.

HAMSALATA

Hindustani

There is no Hindustani raga called Hamsalata. Hamsa-Kalyan has some resemblance to the Karnatak raga Hamsalata. Arohas of both the ragas are the same. In avaroha Hamsa-Kalyan uses Tivra Dh whereas Hamsalata uses Komal Dh. Aroha and avaroha of these two ragas are :

Hamsa Kalyan स रि ग प नि सं—सं नि ध प मं ग रि स.

Hamsalata स रि ग प नि सं—सं नि धु प मं ग रि स.

Karnatak

Hamsalata is a new raga introduced by Tinnlam Venkat-rama Iyer. It is derived from the 63 Melakarta, Latangi. In this raga aroha consists of Hamsadhvani and avaroha of Latangi. Its jati is Audava-Sampoorna. In aroha Ma and Dh are omitted.

Aroha and avaroha of Hamsalata are :

स रि2 ग3 प नि3 सं—सं नि3 ध1 प म2 ग3 रि2 स

Svaras used are Chatsruti Ri, Antara Ga, Prati Ma. Suddha Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स रि ग प नि—सं नि धु प मं ग रि स

Ga, Dh, and Ni are the jeeva svaras. Dh is good nyasa svara. This is a pleasing raga. It has yet to gain popularity. A composition in Hamsalata is :

Kripajooda Samayammama—Khanda Chapu Tala—Kumari C. Suguna.

111 HAMSANANDI HAMSANADA

Hindustani

There is no Hindustani raga called Hamsanada. Hindustani ragas Suddha Sarang and Shyama Kalyan have resemblance to the variety of Hamsanada which is popular and in which Chatsruti Dh is not used. Popular type of Hamsanada has the following aroha and avaroha.

स रि म प नि सं—सं नि प म ग रि स

In Suddha Sarang both Suddha and Prati Ma are used. Dh is also used slightly. (See Suddha Sarang). In Shyama Kalyan also both kinds of Ma are used. Ga is also used. (See Shyama Kalyan).

Hamsanada is a very pleasing rāga and can be introduced into Hindustani sangeet.

Karnatak

Hamsanada is a janya of the 60th Melakarta Nitimati (ri, gi, mi, dhu, nu). It is a Shadava-Shadava raga. Ga is omitted. Aroha and avaroha are :

स रि2 म2 प ध2 नि3—सं नि3 ध2 प म2 रि2 स.

Svaras used are Chatsruti Ri, Prati Ma, Shatsruti Dh, and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स रि म प नि सं—सं नि ध नि प मं रि स

There is a vakra sanchara in avaroha. In the Hamsanada as is rendered at present, Shatsruti Dh (ധ) is not used at all. At present it is an Audava-Audava raga with the following aroha and avaroha;

स रि म प नि सं—सं नि प मं रि स

Even with this simplified aroha and avaroha Hamsanada is a very pleasing one. The following composition is very popular.

Banturiti Koluvayya (Telugu)—Adi Tala—Tyagaraja.

HAMSANANDI

Hindustani

There is no Hindustani raga called Hamsanandi. One type

112

RAGANIDHI

of Hindustani raga Sohoni resembles Hamsanandi of South.

This type of Sohoni has the following aroha and avaroha :

सा रि ग - मं ध नि सं - सं नि ध प - मं ग रि स

(See Sohoni)

Karnatak

Hamsanandi is a Karnatak raga which has come into prominence during the last forty years, probably after the popularity of Hindustani raga Sohoni in the South through Cinema films and gramophone records.

Hamsanandi is a janya of the 53rd Melakarta Gamanasharama (ra, gu, mi, dhi, nu) which corresponds to Hindustani Marwa That. It is a Shadava-Shadava raga. Pa is omitted.

Aroha and avaroha are :

सा रि1 ग3 म1 ध2 नि3 सं - सं नि3 ध2 म2 ग3 रि1 स

Svaras used are Suddha Ri, Antara Ga, Prati Ma. Chatu-sruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are:

सा रिग मंध नि सं - सं निध मंग रि स

The following compositions in this raga are very popular :

Needú Mahima Pogadana (Telugu)–Adi Tala

– Muthiah Bhagavatar.

Pahi Jagajjanani (Sanskrit)–Adi Tala – Swati Tirunal.

There is a type of Hamsanandi which is derived from the 8th Melakarta Hanumatodi (Bhairavi That). Its jati is Audava-Audava. Dh and Ni are omitted in aroha and avaroha.

Aroha and avaroha of this type of Hamsanandi are :

सा रि1 ग2 म1 प सं - सं प म1 ग2 रि1 स

Svaras used are Suddha Ri, Sadharana Ga and Suddha Ma. According to Hindustani notation the aroha and avaroha are :

सा रिग म प सं - सं प म ग रि स.

This type of Hamsanandi is an unfamiliar one. A composition in this type is :

Patita Pavani (Sanskrit)–Rupaka Tala–C. Rangiah.

HAMSANARAYANI

113

HAMSAMANJARI

Hindustani

Hamsamanjari is an unfamiliar raga belonging to Kafi That (Kharaharapriya). Its jati is Shadava-Shadava. Ga is not used.

Its aroha and avaroha are :

स - रि म ध - सं निस्स ध प - ध म - प म प ध सं - रि नि - सं ध

प - म प ध म रि - निस्स.

Svaras used are Tivra Ri, Suddha Ma, Tivra Dh and Komal Ni. Pakad or diagnostic svara groups are:-रि म ध स

निस्स ध प - ध प - म रि निस्स. Vadi is Pa and Samvadi Ri.

Andolan on Ni As सं निस्स sounds beautiful. In this raga Ni in mandra saptak is important as in Gorakh Kalyan. But in Gorakh Kalyan Vadi is Ma and not Pa. Hence their svaroops are different. In avaroha svara group ग रि निस्स निस्स is used.

In certain sancharas there are chayās of Sindhura also. But Ga is altogether avoided in Hamsamanjari. Compositions in Hamsamanjari are :

Gagari Bharana Nahi Det – Trital (Madhya) – J. D. Patki.

Aj Aye Nandaka Lala – Ek Tal (Madhya) – J. D. Patki.

Hindustani ragas Sindhura and Gorakh Kalyan resemble Hamsamanjari.

Sindhura–Ga is used. (See Sindhura).

Gorakh Kalyan–Vadi is Ma. Pa is not used (See Gorakh Kalyan).

Karnatak

There is no Karnatak raga called Hamsamanjari nor one that resembles Hamsamanjari. Svara group स - रि म

ध स

निस्स ध प in Hamsamanjari sounds like a similar group of svaras in the Karnatak raga Durbar. (See Durbar).

HAMSANARAYANI (Marwa That)

Hindustani

There are two types of Hamsanarayani. One type belongs

to Marwa That (Gamanashrama), and the other to Poorvi That (Kamavardhini).

Hamsanarayani of Marwa That (Gamanashrama) is an Audava-Sampoorna raga. Dh and Ni are omitted in aroha. Aroha and avaroha of this type are :

स ऱि ग म प - स ं नि ष ि प ष म ं ग ऱि स

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Tivra Dh and Tivra Ni. Vakra sanchara नि प ध मं ग in avaroha gives an individuality to this raga. This is an evening raga. This type is not popular. This type of Hamsanarayani has some resemblance to Poorva Kalyan.

Poorva Kalyan – In aroha Dh and Ni are used. In avaroha there is no vakra sanchara. (See Poorva-Kalyan).

Karnatak

Karnatak raga Hamsanarayani does not resemble the Hindustani Hamsanarayani of Marwa That. It resembles the Hindustani Hamsanarayani of Poorvi That. (See Hamsanarayani Poorvi That).

Karnatak raga Poorvakalyani has some resemblance to Hamsanarayani of Marwa That. In Poorvi Kalyani Dh is used in aroha in vakra sanchara. ध प ध् . (See Poorvi Kalyani).

HAMSANARAYANI (Poorvi That)

Hindustani

Hamsanarayani belonging to Poorvi That (Kamavardhini) is a Shadava-Shadava raga. Dh is not used. Aroha and avaroha of this raga are,

स - नि ऱि ग म - प - नि सं नि ऱि - प - मं ग ऱि स

Svaras used are Komal Ri, Tivra Ga. Prati Ma and Tivra Ni. Vadi is Sa and Samvadi Pa. This raga is a dignified raga (Gambhira). This is an evening raga and can be sung till mid-night. A composition in Hamsanarayani of Poorvi That is :

Bhaja Mana Narayana-Trital (Madhya).

One type of Maligowra (Type IV) resembles this raga. Maligowra (Type IV)—Uses Ni in aroha. (See Maligowra.)

HAMSANATINI

Hindustani

There is no Hindustani raga called Hamsanatini. In the raga Hamsanatini there is chaya of Anand Bhairav of Hindustani in the svara groups, म ग रे स and प म ग रि स . (See Ananda Bhairav).

Karnatak

Hamsanatini.is an unfamiliar raga. It is a janya of the 18th Melakarta, Hatakambari (ra, gu, ma, dhu, nu). Its jati is Chatusvari-Audava. In aroha only four svaras are used. Ri, Dh and Ni are not used. In avaroha Ni and Dh are not used. Aroha and avaroha of Hamsanatini are:

स ग3 म1 प सं - स प म4 ग3 ऱि1 स

Svaras used are Suddha Ri, Antara Ga, and Suddha Ma. According to to Hindustani notation they are:

Karnatak raga Hamsanarayayani is a janya of the 51st Melakarta Kamavardhini (ra, gu, mi, dha, nu) which corresponds to Hindustani Poorvi That. It is also very much allied to Hamsanarayani of North. Jati of this raga is Audava-Shadava. Dh and Ni are dropped in aroha. In avaroha Dh is dropped. Aroha and avaroha of Hamsanarayani are :

स ऱि1 म2 प सं-से नि3 प म2 ग3 ऱि1 स

Svaras used are Suddha Ri, Antara Ga, Prati Ma and Kakali Ni. According to Hindustani notation the aroha and avaroha are:

स ऱि ग म प -स-कोमलनि प मं ग ऱि स

From the above aroha and avaroha it will be seen that Hamsanarayani of South resembles Hamsanarayani of Poorvi That of Hindustani.

Hamsanarayani is not a popular raga. The following composition in this raga is available :

Brova Necku (Telugu)—Adi Tala—Tiruvottiyur Tyagaraja.

Karnatak raga Mandari resembles Hamsanarayani. Mandari—Ni is used in aroha. (See Mandari).

116 RAGANIDHI

सा ग म प धे -सं प म ग रि स

This is a difficult raga. It requires great skill to create ranjakatva with only four svaras in aroha and five in avaroha. A composition in Hansanatini is : Vandeham Sada (Sanskrit)—Adi Tala—Jayachamaraja Wadiyar.

HAMSASHREE

Hindustani

Hamsashree is an unfamiliar raga belonging to Khamaj That (Harikamboji). Its jati is Audava-Audava. Ri and Dh are not used. Aroha and avaroha of Hamsashree are:

पु नि स - ग म गड स - ग म प निड स - स - निड प म - ग म ग-प ग म

गड स - निड़ प - म प - निड़ स

Svaras used are Tivra Ga, Suddha Ma, and both Komal and Tivra Ni. Pakad or Gunjān svara groups are :-पु नि स - ग -

म ग - प ड़ म ग म गड स लि प - म प निड़ स. Vadi is Pa and Samvadi Sa. Sangati दृश म is very prominent. Ma is thereby kept weak or durbal. Raga vistara (raga elaboration) should be more in mandra sthayi. This gives the raga gambhirata or dignity and also gives it a diagnostic feature to distinguish it from raga Tilang which resembles Hamashree closely. It requires great skill to sing Hamsashree without straying away into Tilang.

In Hamsashree there are angas of Bihag and Sarang. These should be brought out so that chances of getting confused into Tilang are eliminated. Angas of Bihag and Sarang are as under :

Bihag anga—पु नि - पु नि स - गाड स - ग म गड स-प ग - म गड - स म

गा ड़ - म ग म गड S—ग म प निड़ सं

Saranga anga—नि प -म पनिड़ सं - सं निड़प - प म पनिप -प म निड़ प

निड़ सं निड़ म प -म प निड़ सं

While singing the above svara groups one should think of ragas Bihag and Sarang to bring out the angas properly and blend them skilfully.

117 HAMSA VINODINI

Hamsashree is sung during the second prahara of night (9 p.m. to midnight). Compositions in Hamsashree are :

Aye Ghar Nanda Lal—Ek Tal (Madhya)—J. D. Patki. Kaliyan Sangakarata—Trital (Madhya)—J. D. Patki. Allied Hindustani raga is Tilang. Tilang—Bihag and Sarang angas are not kept prominent. (See Tilang).

Karnatak

There is no Karnatak raga called Hamsashree. Gambhira-nata or Suddha Nata has some resemblance to to Hamashree. But in Gambhiranata only Kakali Ni (Tivra Ni) is used. Aroha and avaroha of Gambhiranata are :

स ग म प निसं - सं नि प म ग स.

HAMSA VINODINI

Hindustani

There is no Hindustani raga called Hamsavinodini. An unfamiliar Hindustani raga called Kaushikadhvani belonging to Bilaval That and Rageshree which belongs to Khamaj That resemble Hamsavinodini which is a newly introduced raga in the South. Kaushikadhyani has the following aroha and avaroha.

स ग म ध नि सं - सं नि ध म ग सु

In Rageshree Ri is used in both aroha and avaroha. In avaroha Komal Ni is also used (See Rageshree).

Another Hindustani raga which resembles Hamsavinodini is Durga of Khamaj That (Madhuradhvani). Ni is Komal. Aroha and avaroha of Madhuradhvani are :

स ग म धि सं - सं धिु ध म ग स.

(See Durga Khamaj That)

Aroha and avaroha of Hamsavinodini are :

स रि ग म ध नि सं—सं नि ध म ग रि स.

This is a pleasant raga and can be introduced into Hindustani Sangeet under ragas of Bilaval That.

118 RAGANIDHI

Karnatak

Hamsavinodini is a janya of the 29th Melakarta Dheera-sankarabharana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bilaval That. Its jati is Shadava-Shadava. Pa is not used. Aroha and avaroha of Hamsavinodini are :

स रि2 ग3 म1 ध2 नि3 सं—सं नि3 ध2 म1 ग3 रि2 स

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma Chatusruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स रि ग म ध नि सं—सं नि ध म ग रि स

Hamsavinodini is mentioned in books on Karnatak music. Compositions mentioned below in this raga are new.

Sarasvatim Bhagavatim (Sanskrit)—Khanda Jati Jhampa Tala—Jayachamaraja Wadiyar. Guruni Smarimpumo (Telugu)—Adi Tala. — Balamurali Krishna.

Karnatak raga Ravichandrika resembles Hamsavinodini, Ravichandrika—Kaisiki Ni is used. There is a vakra sanchara : ध नि ध सं (See Ravichandrika).

HANUMATODI

Hindustani

There is no Hindustani raga called Hanumatodi. Svaras of Bhairavi that correspond to those of Hanumatodi, 8th Melakarta of Karnatak System. Aroha and avaroha of Bhairavi That are :

स रि गू म प धु नि सं—सं नि धु प म गू रि स

All svaras are Komal svaras (See Bhairavi).

Karnatak

Hanumatodi, the eighth Melakarta (ra, gi, ma, dha, ni) corresponds to Hindustani Bhairavi That. According to Dikshitar School this Melakarta is called Janatodi. Hanumatodi is actually the present day Todi of South. Prefix 'Hanuma' is to enable to find out the number of the Melakarta according to

119 HARIDASAPRIYA

Katapayadi Sankhya scheme. Aroha and avaroha of Hanuma-todi are :

स रि1 ग2 म1 प ध1 नि2 सें—सं नि2 ध1 प म1 ग2 रि1 सु

Svaras used are Suddha Ri, Sadharana Ga, Suddha Ma, Suddha Dh, and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

स रि म प ध नि सें—सं नि ध प म ग रि स.

(For a full description of the raga see Todi).

HARIDASAPRIYA

Hindustani

There is no Hindustani raga called Haridasapriya. Haridasapriya sounds like Hamsakankini of Hindustani. Hamsakankini has the following aroha and avaroha :

नि स ग म प ध नि सं—सं नि ध प म ग स नि स

न ग म र ग म प ध नि सं—सं नि ध प म ग रि स नि स

In Hamsakankini both Komal and Tivra Ga and Ni are used. (See Hamsakankini).

Karnatak

Haridasapriya is a raga which has been composed by P. Sambamoorthy. This is a bhashanga raga in which svaras in aroha consist of those used in Harikamboji and in avaroha those of Kharaharapriya. The name Haridasapriya is suggestive of the fusion of the two important Melakartas in this raga. Its jati is Audava-Sampoorna. In aroha Ri and Dh are not used. Aroha and avaroha of Haridasapriya are :

स प म1 ग3 म1 प नि2 सें—सं नि2 ध2 नि2 प म1 ग2 रि2 स

Svaras used are Chatusruti Ri, both Sadharana and Antara Ga, Suddha Ma, Chatusruti Dh, and Kaisiki Ni. In aroha Antara Ga and in avaroha Sadharana Ga are used. According to Hindustani notation, aroha and avaroha are :

स प म ग प नि सें—सं नि ध रि प म ग रि स.

There are vakra sanchras in both aroha and avaroha. A composition in Haridasapriya is : Ramachandra Nannu (Telugu)—Adi Tala — P. Sambamoorthy.

120

RAGANIDHI

HARIKAMBOJI

Hindustani

There is no Hindustani raga called Harikamboji. Hindustani Khamaj That corresponds to Karnatak Melakarta Harikamboji (See Khamaj).

Karnatak

Harikamboji is the 28th Melakarta (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. According to Dikshitar School this Melakarta is called Harikedaragaula. Harikamboji is not only an important raga itself but is a very important Melakarta as it has a large number of janya ragas which are very popular. Harikamboji is a Sampoorna raga. Its aroha and avaroha are :

स ri ग म1 प ध2 नि2 सं—स नि2 ध2 प म1 ग ri स

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatsruti Dh and Kaisiki Ni. According to Hindustani notation, aroha and avaroha are :

स ri ग म प ध नि सं—स नि ध प म ग ri स

Svara Ni with andolan and elongation gives charm to this raga. The following svara groups are frequently used and are characteristic of Harikamboji :

स ध2 से नि ध निस्स—स प ध निस्स—ri से नि ध निड

The following compositions in this raga are very popular :

Rama Nannu Brovara (Telugu) – Rupaka Tala, – Tyagaraja.

Dinamani Vamsha Tilaka (Telugu)– Adi Tala – Tyagaraja.

Saketa Nagara Natha (Telugu) – Rupaka Tala, – Mysore Sadashiva Rao.

Karnatak raga Khamas resembles Harikamboji. Care has to be taken not to get confused and stray into Khamas raga. Khamas – In aroha Ri is omitted, Kakali Ni is also touched in aroha (See Khamas).

HARIKAUNS

Hindustani

Harikauns is an unfamiliar raga. It is a pleasing raga but a

121

HARIKEDARAGAULA

difficult one. Its jati is Audava-Audava. Ri and Pa are omitted completely. Aroha and avaroha are :

स गं में ध नि सं—स नि ध म ग स

Svaras used are Komal Ga, Tivra Ma, Tivra Dh and Komal Ni. A composition in this raga is :

Ye Piya Balama –Jhaptai

Karnatak

There is no Karnatak raga called Harikauns. Two Karnatak ragas Ranjani and Jeevantini have some resemblance to Hindustani Harikauns.

Karnatak raga Ranjani is derived from the 59th Melakarta Dharmavati. Its aroha and avaroha according to Hindustani notation are :

स ri गं म ध सं—स नि ध म गु स

Avaroha of Harikauns and Ranjani of South are similar. But in aroha Harikauns drops Ri and Pa while Ranjani omits Pa and Ni.

Jeevantini is a janya of the 48th Melakarta Divyamani. Aroha and avaroha of Jeevantini according to Hindustani notation are :

स म प नि सं—स नि प म ग स

In Jeevantini Dh is not used and in Harikauns Pa (See Jeevantini).

HARIKEDARAGAULA

Hindustani

There is no Hindustani raga called Harikedaragaula. Raga Des or Desh resembles Karnatak raga Kedaragaula which is the present day name for Harikedaragaula.

Karnatak

Harikedaragaula is the old name for the 28th Melakarta Harikamboji. Janya raga Harikedaragaula corresponds to the present day Kedaragaula. (See Kedaragaula).

122

RAGANIDHI

HARINARAYANI

Hindustani

There is no Hindustani raga called Harinarayani nor one

which corresponds to Karnatak Harinarayani. Inverted form

of one type of Shahana Kanada sounds like Harinarayani. Aroha

and avaroha of Shahana Kanada are :

स रिग म प धि स — स नि ध प म ग रि स

Karnatak

Harinarayani belongs to the 22nd Melakarta Kharahara-

priya (ri, gi, ma, dhi, ni) which corresponds to Hindustani

Kafi That. Its jati is Sampoorna-Shadava. In avaroha Dh is

not used. There is a vakra sanchara in aroha. Aroha and

avaroha of Harinarayani are :

स रि₂ ग₂ म₁ प ध₁ स — स नि₂ प म₁ ग₂ रि₂ स

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma,

Chatusruti Dh and Kaisiki Ni. According to Hindustani

notation they are :

स रिग मपध स — स निध पम ग रि स

This is a beautiful raga. A composition in this raga is :

Devi Shri Mahalakshmi—Rupaka Tala,

—Muthiah Bhagavathar

HATAKAMBARI

Hindustani

There is no Hindustani raga called Hatakamabari nor one

which resembles this Karnatak Melakarta raga.

Karnatak

Hatakamabari is the 18th Melakarta (ra, gu, ma, dhu, nu).

According to Dikshitar school this Melakarta is called Jaya-

suddha Malavi or Suddha Malavi. Aroha and avaroha of

Hatakamabari are :

स रि₁ ग₃ म₁ प ध₃ नि₃ स — स नि₃ ध₃ प म₁ ग₃ रि₁ स

Svaras used are Suddha Ri, Antara Ga, Suddha Ma.

Shatsruti Dh and Kakali Ni. According to Hindustani

123

HEMAKALYAN

According to Hindustani notation, the aroha and avaroha

are :

स रि ग म प नि स — स नि लि प म ग रि स

(In the above Komal Ni represents Shatsruti Dh of

Karnatak system).

Hatakamabari is not a popular raga. Compositions in this

raga are :

Alagada (Tamil)—Adi Tala — Kotiswara Iyer.

Rakshtumamm Shri Lakshmipati (Sanskrit)—Trisra Triputa

Tala — Balamurali Krishna.

HEJJAJI or HEJJUJJI

Hindustani

There is no Hindustani raga called Hejjaji, nor one which

resembles this Karnatak raga. There is a Hindustani raga

called Hijaj but it has no resemblance to Karnatak raga

Hejjaji.

Karnatak

Hejjaji or Hejjuiji is a janya of the 13th Melakarta

Gayakapriya (ra, gu, ma, dha, na). Its jati is Shadava-

Sampoorna. Ni is omitted in aroha. Aroha and avaroha of

Hejjuiji are :

स रि ग₃ म₁ प ध₁ स — स नि₁ ध₁ प म₁ ग₃ रि₁ स

Svaras used are Suddha Ri, Antara Ga, Suddha Ma,

Suddha Dh, and Suddha Ni. According to Hindustani notation

the aroha and avaroha are,

स रि ग म प ध स — स ध प म ग रि स

(In the above Tivra Dh (ڌ) represents Suddha Ni of

Karnatak system).

Hejjuiji is not a popular raga at the present day. Some of

the compositions of Tallapakam composers of Tirupati were

set in raga Hejjuiji.

HEMAKALYAN

Hindustani

Hemakalyan belongs to Bilaval That (Dheerasankara-)

124 RAGANIDHI

bharana). Its jati is Audava-Shadava. Ri and Ni are omitted in aroha. In avaroha Ni is not used. Aroha and avaroha of Hemakalyan are :

स · गप · धपसें-सं · घप · गमप-गमती- स · पृथपुस · स

All svaras are Suddha svaras of Hindustani sangeet. Pakad or diagnostic svara groups are :

स · पृथपुस · स रि स · स ग प · ध प · ग म रि स

Vadi is Pa and Samvadi Sa. Some suggest the reverse arrangement. This raga is sung in the second prahara of night. In this raga certain sancharas of Suddha Kalyan, Kamod, Maluha Kedar etc. are found. Suddha Kalyan—प ध पु सड. Kamod: न मा प-न स रि स, Maluha Kedar:-प पथ पु स · ग म प-न म रि स

Sanchara of this raga is very pleasing in mandra saptak. Sometimes this raga is also called Hem or Khem. Com- positions in Hemkalyan are :

Savana Ayori yaha Mo—Ek Tal (Vilambit) Jhulana Jhulata Shyama—Trital (Madhya)—J.D. Patki. Hindustani ragas Suddha Kalyan, Kamod and Maluha Kedar are allied to Hemakalyan.

Suddha Kalyan : Sangatis ध रि and प प are prominent. Tivra Ma is used. (See Suddha Kalyan).

Kamod: Commencement (उद्गाव) of the raga is with म रि प. Tivra Ma is also slightly used. (See Kamod).

Maluha Kedar: Halt on Ma is prominent. Ni is used (See Maluha Kedar).

Karnatak

There is no Karnatak raga called Hemakalyan. Raga Begada which is a janya of the 29th. Melakarta Dheera- sankarabharana (Bilaval That) resembles Hemakalyan. In Begada Ni is used in both aroha and avaroha. But Ni is also omitted in many sancharas. It is possible to omit Ni in Begada and get a raga which will resemble Hemakalyan. Aroha and avaroha of Begada are :

स रि ग म प ध निध प स — सं निध प मग रि स

By omitting Ni Karnatak Begada will become :

स ग म प · ध प · सं · सं घ प · म ग रि स

125 HEMANT

HEMAMBARI

Hindustani

There is no Hindustani raga called Hemambari. It is an interesting raga and deserves to be introduced into Hindustani sangeet. There are chayas of Madhuvanti.

Karnatak

Hemambari is a janya of the 58th Melakarta Hemavati (ri, gi, mi, dhi, ni). Its jati is Sampoorna-Audava. Ni and Dh are omitted in avaroha. Aroha and avaroha of Hemambari are :

स रि ग म प ध नि स — सं म ग रि स

Svaras used are Chatsruti Ri, Sadharana Ga, Prati Ma, Chatsruti Dh and Kaisiki Ni. According to Hindustani notation aroha and avaroha are :

स रि2म1प ध2नि2 स — सं प म ग2रि2 स

Hemambari is not a popular raga. The following composition is sometimes heard,

Himagiri Kumari (Sanskrit)—Adi Tala — Muttuswamy Dikshitar.

HEMANT

Hindustani

Hemant is being heard during recent years and is pleasing. It is an innovation of Ustad Allauddin Khan of Maihar. It belongs to Bilaval That. (Dheerasankarabharana). Its jati is Audava-Sampoorna. In aroha Ri and Pa are not used. Aroha and avaroha of Hemant are :

नि स - पृधु1. स ग - ग मड · म ध - नि सं - सं निध प-मड - ग म रि स

Svaras used are all Suddha svaras of Hindustani sangeet. Aroha of Hemant consists of Rageshree ang and avaroha sounds like Hemakalyan with addition of Tivra Ni (See Rageshree and Hemakalyan).

Pakad or Gunjan svara groups consist of : स ध नि सं · सं नि

ध मड. Halt on Ma sounds beautiful. This is a night raga. This raga has not yet found favour with vocalists.

126

RAGANIDHI

Hindustani ragas Malgunji and Rageshree resemble Hemant.

Malgunji—Uses both Komal and Tivra Ga and both Komal and Tivra Ni (See Malgunji).

Rageshree—Pa is not used (See Rageshree).

Karnatak

There is no Karnatak raga called Hemant. There is a type of Karnatak Kanada belonging to Melakarta Dheerasankara-bharana which is different from the popular type belonging to Melakarta Kharaharapriya (Kafi That), and it is also different from Kannada which belongs to Dheerasankarabharana Melakarta. This type of Kanada which belongs to Dheera-sankarabharana Melakarta resembles Hindustani Hemant. Aroha and avaroha of Karnatak Kanada of Melakarta Dheerasankarabharana are :

स ग म ध नि सं—सं ध प म ग म रि स.

In this type of Kanada Ni is not used in avaroha. In Hemant Ni is used in avaroha also. A popular Karnatak raga which has some resemblance to Hemant is Kannada. Aroha and avaroha are :

स रि ग म प ध नि सं—सं ध प म ग रि स.

Ri is used in aroha. Ni is not used in avaroha.

(See Kannada).

HEMAVATI

Hindustani

Karnatak raga Hemavati is becoming popular among instrumentalists (Sitarists and Sarodists) of northen India. Its jati is Shadava-Sampoorna. In aroha Ri is not used. Some use Ri slightly and give the raga a Sampoorna-Sampoorna appearance. Aroha and avaroha of Hemavati are :-

स · ग or स रि ग़ · म प · ध · नि सं—सं ग़ रि सं · नि सं ध · प · म ग़ · म ग रि स.

127

HEVITRI

Svaras used are Tivra Ri, Komal Ga, Prati Ma, Tivra Dh and Komal Ni. Occasionally Tivra Ni is also touched. Pakad or diagnostic svara groups are :-

म ग रि स · म - नि ष प.

This raga has chayās of Mooltani and Madhuvanti. But use of Komal Ni dispels them. Halt on Prati Ma and andolan on Ga are characteristic of this raga. The vakra sancharas in both aroha and avaroha are introduced in Hindustani raga Hemavati to give ranjakatva of a kind.

This is not a popular raga yet among vocalists. Compositions in Hemavati are :

Piya Ghar Nahi Aye—Tilvada (Vilambit).

Kahe Mana karu Sakhi—Trital (Drut).

Karnatak

Hemavati is the 58th Melakarta (ri, gi, mi, dhi, ni). According to Dikshitar school this Melakarta is called Deshi Simharava.

Aroha and avaroha of this Sampoorna-Sampoorna raga are:

स रि ग₂ म₂ प ध₂ नि सं - सं नि ध₂ प म₂ ग₂ रि स

Svaras used are Chatsruti Ri, Sadharana Ga, Prati Ma, Chutusruti Dh and Kaisiki Ni. According to Hindustani notation aroha and avaroha are :

स रि ग़ म प ध नि सं—सं नि ध प म ग़ रि स.

Hemavati is not a popular raga even in the South. The following compositions in this raga are available.

Palimpave yannanu (Telugu)-Adi Tala—Veena Kuppa Iyer,

Tarunamide Nammayabhava (Telugu)-Adi Tala—

Balamurali Krishna.

HEVITRI

Hindustani

Hevitri is a recent introduction into Hindustani sangeet. It can be put under the Karnatak Melakarta, Chakravaka. Its jati is Audava-Sampoorna. Svaras Ga and Ni are not used in aroha. Aroha and avaroha of Hevitri are :-

स रि म प सं—सं नि ष प · म ग (नि) · रि स.

128

RAGANIDHI

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Tivra Dh and Komal Ni. This raga has a chaya of Ahir Bhairav in it. Svara group ऋि ना (न) धि स is very pleasing. A composition in this raga is:-

Jadu Kari Gaya - Trital (Madhya).

Karnatak

There is no Karnatak raga called Hevitri. There is a raga Kalavati which is a janya of the 16th Melakarta Chakravaka in which the aroha resembles Hevitri of North. In avaroha of Kalavati Ni is not used. Kalavati is an Audava-Shadava raga having the following aroha and avaroha :-

स ि म प ष सं - संघपमगसि ल

(See Kalavati)

HIJAJ OR HIJAJ BHAIRAV

Hindustani

The name suggests Mohammedan association. The composer might have been a Mohammedan.

Strictly speaking Hijaj should come under the Karnatak Melakarta Vakulabharana. As there is no corresponding Hindustani That, Hijaj is put under Bhairav That (Mayamalavagaula). Its jati is Shadava-Sampurna. In aroha Ri is omitted. Aroha and avaroha of Hijaj or Hijaj Bhairav are :

स म ग म प धू प - प धू नि स - सं धू नि प ग म - ग म ग स

or

स म - ग म - प धू नि स - सं धू प - ग म - प ग म ग स

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Komal Dh, and Komal Ni. Vadi is Ma and Samvadi Sa. This raga sounds like a combination of Bhairav in poorvanga and Bhairavi in uttaranga. It is a dignified raga. Vishranti svaras (halting svaras) are Sa, Ri, Ma, and Pa. This is a pleasing raga. But it is not very popular. It is a morning raga. Compositions in Hijaj are :

Chadiye Mulak Sultan—Ektal—(Vilambit)

Maruta Mohan Aj Siddha karo—Jhaptāl (Madhya)

129

HINDOL

Vasant Mukhari which is becoming popular in Hindustani resembles Hijaj Bhairav very closely. Aroha and avaroha of Vasant Mukhari are :

स ग - हि ग म पड - धू नि स - सं धू प - निछू प - म ग - म हि स

(See Vasant Mukhari)

Karnatak

There is no Karnatak raga called Hijaj. There is a raga called Hejjaji whose name sounds like Hijaj but is an entirely different raga (See Hejjaji). {Karnatak raga Vasant Mukhari which is desirved from the 14th Melakarta Vakulabharana resembles Hindustani Hijaj very closely.

Aroha and avaroha of Vasant Mukhari are according Hindustani notation :-

स रि ग म प धू नि स or स म ग म प धू नि स - सं नि धू प म ग - म ग रि स

(See Vasant Mukhari)

HINDOL

Hindustani

Hindol belongs to Kalyan That (Mechakalyani). Its jati is Audava-Audava. Ri and Pa are omitted in both aroha and avaroha. Aroha and avaroha of Hindol are :

स ग म ध - नि म ध - स - सं - नि ध म - ग म - ग म ग स

Svaras used are Tivra Ga, Prati Ma, Tivra Dh, and Tivra Ni. Pakad or Gunjan Svara groups are :

ध - ध म - ग म ध - सं ग - म ध - स. Vadi is Dh and Samvadi Ga. This raga has gambhirya in it (dignified).

Sangati स ग is used frequently. Svara group म ग is repeated twice or thrice in succession as म ग म ग म ग स. Ni should not be elongated, otherwise it will sound like Sohani. In this raga, gamakas play an important part. Hence it is suited for instrumentalists. This is an uttaranga raga and should be sung with emphasis. Vishranti sthanas or halting svaras are Ga, Dh and Sa. Ni in aroha is taken in a vakra sanchara नि म ध स. This is peculiar to Hindol. Hindol is a popular raga and is sung after midnight. Compositions in this raga are :

Barana Baranake Phula—Trital (Madhya).

Kantha Bharanakar-Jhap Tal (Madhya)

Svaroop of raga Hindol was that of the present day Malakosh. But when the transformation took place giving it the present svaroop is not known. It is interesting to note that the Karnatak raga, Hindola whose name sounds very much like Hindustani Hindol has even to day the svaroop of Hindustani Hindolash.

Hindustani Sohani has some resemblance to Hindol. Sohani—Ni is used straight as . Ni is also kept elongated. Ri is used (See Sohani).

Karnatak

There is no raga called merely Hindol. There is a popular raga called Hindol which resembles Malakosh of North. Karnatak Sunavinodini resembles Hindol. Its aroba and avaroha are :

स ग म प नि स॒—स॒ नि ध प म ग स

(See Sunavinodini)

If Ri is omitted both in aroha and avaroha of Hamsanandi, then it will resemble raga Hindol of North. Hamsanandi has the following aroha and avaroha :

स रि ग म प ध नि स॒—स॒ नि ध म ग रि स

As it stands Hamsanandi resembles Hindustani Sohani (See Hamsanandi).

HINDOLA

Hindustani

There is no Hindustani raga called Hindola. There are ragas called Hindol and Hindoli which have no resmblance to Hindola of South (See Hindol and Hindoli). Hindustani Malkosh resembles Karnatak Hindola. Malkosh has the following aroha and avaroha :-

स ग॒ म प ध नि स॒—स॒ नि ध प म ग स

(See Malakosh or Malakauns)

Hindola is derived from the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which corresponds to Hindustani Asavari That. Its jati is Audava-Audava. Ri and Pa are omitted in both aroha and avaroha. Aroha and avaroha of Hindola are :

स म1 ग2 म1 ध1 नि2 स॒—स॒ नि2 ध1 म1 ग2 स

Svaras used are Sadharana Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation, the aroha and avaroha are :

स ग म प ध नि॒—स॒ नि ध म ग म

In aroha there is a vakra sanchara of Ma as स ग म. But this is not always adhered to. Prayoga स ग म in a straightway is very common.

Hindola is a very popular raga today although is was not very commonly known about forty years ago. There are numerous compositions are well known in this raga. The following compositions are well known:

Samaja Vara Gamana (Sanskrit)—Adi Tala—Tyagaraja.

Neerajakshi Kamakshi (Sanskrit)—Rupaka Tala

—Muttuswamy Dikshitar.

Sarasvati (Sanskrit)—Mysore Vasudevachar.

Although the generally accepted svaroop of Hindola is as shown above, there is one kriti of Shri Tyagaraja—Manasulani Marmamu in Adi Tala—which is sung with the use of Chatsruti Dh ( ). Excepting this solitary kriti there is no other composition in this type of Hindola. Aroha and avaroha of this type of Hindola are :

स ग2 म1 ग2 प ध2 नि2 स॒—स॒ नि2 ध2 म1 ग2 स.

According to Hindustani notation they are :

स गू म ध नि स॒—स॒ नि ध म गू स.

This sounds like Hindustani Durga (of Khamaj That) also called Madhuradwani but in this type Ga is Tivra (See Durga of Khamaj That).

132

RAGANIDHI

HINDOL BAHAR

Hindustani

This is a 'jod' or 'samyukta' raga formed by combining two ragas Hindol and Bahar. There are two types of Hindol Bahar.

Type I

In this type aroha consists of Hindol anga and Bahar anga is introduced in avaroha only. Jati of this type is Chatusvari - Sampoorna. In aroha Ri, Pa and Ni are omitted. Aroha and avaroha of Hindol Bahar are :-

सं ग म ध नि - नि स - रि ग म प धु म ध नि स

Svaras used are Tivra Ri, both Komal and Tivra Ga, both Komal and Tivra Ma, Tivra Dh, and both Komal and Tivra Ni.

Compositions in this type are :

Madhu Vana Me Bhir Pari—Trital (Madhya).

Peer Ban Bagh—Ektal (Drut).

Type II

In this type of Hindol, Bahar angas of Hindol and Bahar ragas are found in both aroha and avaroha. Hindol anga is found in poorvanga and Bahar anga in uttaranga. Jati of this type is Shadjava - Sampoorna, Ri is not used in aroha. Aroha and avaroha of this type are :

स ग म - र प ग म - नि ध स - रि से नि प म ग म -

नि ध मं - ग स

Svaras used are Tivra Ri, both Komal and Tivra Ga, both Komal and Tivra Ma, Tivra Dh, and both Komal and Tivra Ni.

Pakad or Ganjan svara groups are :-

म नि ध - ध नि से नि प - सं ग मं ग स

Vadi is Dh and Samvadi is Ga. Hindol Bahar is a difficult raga and requires great mastery to be rendered properly.

A composition in this type of Hindol Bahar is :

Ye Ho Lala jhooliye - Ektal (Vilambit).

Karnatak

There is no Karnatak raga called Hindol Bahar nor one which resembles it,

133

HINDOLA DURBAR

HINDOLA DESHIKA

Hindustani

There is no Hindustani raga called Hindola Deshika. There is no Hindustani raga which resembles this Karnatak raga.

In Hindola Deshika chhayas of Kafi and Bhairav are found. Kafi - ग रे म प ध नि स. Bhairav स म रि धि . रि स

Karnatak

Hindola Deshika is a rare raga. It is a janya of the 10th Melakarta Natakapriya (ra, gi, ma, dhi, ni). Its jati is Sampoorna-Sampoorna, with vakra sancharas in both aroha and avaroha us under :-

स म1 रि ग2 म1 प ध2 नि से - से नि2 ध2 म1 ग2 रि1 स.

Svaras used are Suddha Ri, Sadharana`Ga, Suddha Ma, Chatsruti Dh, and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

स म रि ग म प ध नि से - सं प नि ध म ग रि स

Ga, Ma and Ni are raga chaya svaras. Avoid स रि ग म -

सं रि ध प and नि ध प. Vakra sancharas should be carefully adhered to. A composition in Hindola Deshika is :-

Pahimam Sitaram (Sanskrit) - Adi Tala

—Jayachamaraja Wadiyar.

HINDOLA DURBAR

Hindustani

There is no Hindustani raga called Hindola Durbar. There is no Hindustani raga which resembles Hindola Durbar.

Karnatak

Hindola Durbar is a rare raga. It is a janya of the 32nd Melakarta Ragavardhini (ru, gu, ma, dha, ni). Its jati is Chatusvari-Shadava. In aroha Ri, Dh and Ni are omitted. In avaroha Ga is not used. Aroha and avaroha of Hidola Durbar are :-

स ग3 म1 प से - से नि2 ध1 प म1 रि3 स

134

RAGANIDHI

Svaras used are Shatsruti Ri, Antara Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :-

स ग म प ध स — स नि ध प म ग स

In the above Komal Ga (ग) represents Shatsruti Ri of South. A composition in Hindola Durbar is :-

Pahi Mam Shri Parameshwari (Sanskrit)—Rupaka Tala

—Jayachamaraja Wadiyar.

HINDOLA VASANTA

There is no Hindustani raga called Hindola Vasanata. There is a raga called Basanti Hindol which is formed by combining the two popular Hindustani ragas Basant and Hindol. This raga is different in svaroop from Hindola Vasanata of South. Hindola Vasanata has the following aroha and avaroha :

स ग म प ध नि स — स नि धु प म ग स

Hindola Vasanata resembles the following Hindustani ragas: Pancham Malakosh (also called Sundarkauns) :Pa is not used in aroha. (See Pancham Malakosh). Koushi Kanada (Asavari That)—Ri used in avaroha (See Koushi Kanada).

Karnatak

Hindola Vasanata is a janya of the 20th Melakarta Natabhairvi (ri, gi, ma, dha, ni) which corresponds to Hindustani Asavari That. It is a Shadava-Shadava raga with vakra sancharas in both aroha and avaroha. Ri is omitted in this raga. Aroha and avaroha of Hindola Vasanata are :

स ग₂ म₁ प ध₁ नि₂ स — स नि₂ ध₁ प म₁ ग₂ स

Svaras used are Sadharana Ga, Suddha Ma, Suddha Dh, and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

स ग म प ध नि स — स नि धु प म ग स

In this raga Sadharana Ga, Suddha Ma, and Kaisiki Ni are the raga Chaya svaras. Hindola Vasanata is not a popular raga,

135

HINDOLI OR KAUSHIKADHVANI

The following composition in this raga is sometimes heard : Rara Sita Ramani Manohara (Telugu)—Rupaka Tala

—Tyagaraja.

The following Karnatak raggas are allied to Hindola Vasanata of the above type.

Kanaka Vasanata—Ri is used in avaroha (See Kanaka Vasanata). Saramati—Ri is used in aroha. Pa is not used in avaroha (See Saramati).

Jayantasena—Pa is not used in aroha (See Jayantasena).

According to Dikshitar school Hindola Vasanata is an Audava—Shadava raga. Ri and Ni are omitted in aroha and Ri is omitted in avaroha. Aroha and avaroha are as under :

स ग₂ म₁ प ध₁ स — स नि₂ ध₁ प म₁ ग₂ स

According to Hindustani notation the aroha and avaroha are :

स ग़ म प धु स — स नि धु प म ग़ स

A composition in this type of Hindola Vasanata is : Santha Ramaswaminam (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

HINDOLI or KAUSHIKADHVANI

Hindustani

This rare raga belongs to Bilaval that (Dheerasankara bharana). Its jati is Audava-Audava. Ri and Pa are omitted in this raga. Aroha and avaroha of Hindoli are :

स ग म ध नि स — स नि ध म ग स

Svaras used are all Suddha svaras of Hindustani sangeet. Pakad or diagnostic svara groups are :

नि स — प ध नि — स म ध नि स.

Vadi is Ma, Samvadi Sa. Raga Hindoli is obtained by using Suddha Ma in place of prati Ma in the raga Hindol. In Hindol the vakra sanchara, नि म ध स gives it a special svaroop. Raga vistara (elaboration) of Hindoli is mostly in madhya and tara saptaks. The meends (Curve slides) म ध and न स are beautiful in this raga. Some of the svara groups which are frequently used are :

म ध नि स — नि ध म ग स — ध म ग स·नि स·धु नि स म etc.

136

RAGANIDHI

Compositions in raga Hindoli are :

Koyaliya Kuka–Ek Tal (Vilambit).

Mana Mana More–Tri Tal (Madhyama).

The following Hindustani ragas resemble Hindoli.

Bhinashadja–Ma is not prominent. Otherwise there is no difference between this raga and Hindoli.

(See Bhinashadja).

Madhuradhvani (Durga of Khamaj That)–It uses only Komal Ni in both aroha and avaroha.

(See Durga of Khamaj That).

Karnatak

There is no Karnatak raga called Hindoli. There is a raga called Hindola which corresponds to Hindustani Malakosh or Malakauns. One type of Hindola uses Chatsruti Dh and has the following aroha and avaroha.

स न म ध नि सं – सं नि ध म ग रि स

This type Hindola of South has some resemblance to Hindoli. But in Hindoli Ga and Ni are also Tivra.

If Ri is eliminated in the two Karnatak ragas Lalita and Vasanla then ragas resembling Hindoli are obtained.

(See Lalita and Vasanla).

HINDUSTANI KAPI

Hindustani

Karnatak raga called Hindustani Kapi (there is also a raga called Karnatak Kapi), is a mixture of the Hindustani ragas Kafi Sindhura and Piloo.

Kafi of North mixed with Sindhura and Piloo has found its way to the South and is sung under the name of Hindustani Kapi, to distinguish it from the orthodox Kapi of South called Karnatak Kapi.

Hindustani Kapi is a bhashanga raga in which two varieties of Ga, Dh and Ni are used in avaroha. Aroha and avaroha of Hindustani Kapi are :

स रि2 म1 प नि3 सं – सं नि2 ध2 नि2 प म3 ग1 म1 ध1 प ध2 रि2 स नि3 स.

137

HOMASHIKHA

Svaras used are Chatsruti Ri, both Sadharana and Chatu-sruti Dh and both Kaisiki and Kakali Ni. According to Hindustani notation, the aroha and avaroha are :

स रि म प नि सं – सं ध रि प म ग रि स नि स.

Hindustani Kapi is a very popular and pleasing raga. Its Rasa is Shringara. Hence it is suited for singing light songs and vaitis. High class kritis are also sung in this raga. The following compositions are very popular in this raga :

Inta Soukhyamani Ne (Telugu)–Adi Tala–Tyagaraja

Sarasamu lade (Telugu)–Adi Tala (Javali)

– Rampad Sreenivasa Iyengar.

In the orthodox Karnatak Kapi svaras other than those of the 22nd Melakarta, Kharaharapriya to which it belongs are not permissible (See Karnatak Kapi).

HOMASHIKHA

Hindustani

This unfamilar raga belongs to Khamaj That (Hari-kamboji). Its jati is Audava–Audava. Ri and Ma are omitted in this raga. Aroha and avaroha of Homashikha are:

स ग – प ध नि सं – स नि – ध प ग – स

Svaras used are both Komal and Tivra Ga, Tivra Dh, and both Komal and Tivra Ni. Pakad or Gunjan svara groups are, ग प – ग स ध नि ग. Vadi is Komal Ga, and Samvadi Dh. Tivra Ga and Tivra Ni are used in aroha. Komal Ni and Komal Ga are used in avaroha. A peculiarity is that both Tivra Ga and Komal Ga occur side by side in avaroha as न ग - स. This gives a chaya of raga Jog. Andolan on Ni and Dh sounds beautiful in this raga. This raga is for the midnight. This is a difficult raga and is not a popular one. A composition in this raga is :

Chaina Na Ave–Trital (Madhya) – Balaram Roy.

Karnatak

There is no Karnatak raga called Homashikha, nor one which resembles Homashikha.

11

138

RAGANIDHI

HUSENI

Hindustani

There is a raga called Huseni in Hindustani sangeet. As the name suggests it is associated with Mohammedan music. The present day svaroop of this raga is a confused one and this raga is not sung.

In the Hindustani raga Deshi or Desi Todi, there are certain groups of svaras which sound like Huseni of the South (See Desi).

Karnatak

Although raga Huseni is not a popular one in the North, it is surprising that a raga called Huseni should be a popular one in the South. Karnatak raga Huseni is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi That. Its jati is Sampoorna-Sampoorna. Its aroha and avaroha are :

स ri ग2 म1 प नि2 ध2 म प नि2 ध2 सं - स नि2 संपध2 म1 प ग2 रि2 स

Svaras used are Chatsruti Ri, Sadharana Ga, Suddha Ma, Chatsruti Dh and Kaisiki Ni. A touch of Suddha Dhi is sometimes given. According to Hindustani notation, the aroha and avaroha are :

स ri ग म प ति ध म प ति सं - सं ति से प ध म प गू रिड़ स

The following sancharas are characteristic of Huseni,

प नि ध सड - प ति वि सं - वि ध मु᳡ - ग रि ति ḍ - मु रि प

The following compositions in Huseni are very popular.

Rama Ninne Nammi (Telugu) - Adi Tala - Tyagaraja.

Shree Raghukula Nidhim (Sanskrit)-Adi Tala,

-Ramnad Sreenivasa Iyengar.

HUSENI KANADA

Hindustani

This is a rare type of Kanada. There is flavour of Bahar in this raga. Care should be taken to keep clear of Shahana and

139

IMANI BILAVAL

Mudrika Kanada ragas. The Jati of this raga is Sampoorna-Sampoorna with vakra sancharas in both aroha and avaroha. Aroha and avaroha are :

स ri गू म प ध नि प - सं - स नि प - म प गू म रि स

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh and Komal Ni. Vadi svara is Pa and Samvadi Sa. This raga is sung during second prahara of night.

Chalan of this raga is as under :

ग म रि स - स नि रि स - प - म प - धनि प - सं ति संनि स - ध नि प - म ध प - म प गू म रि स

Compositions in this type of Kanada are :

Chanchala Dhriga Ratanare - Ek Tal (Vilambit).

Banyo Siya Pyarika Banara - Teen Tal (Madhya).

Karnatak

There is no raga called Huseni Kanada. Raga Huseni which is a popular raga has no resemblance to Huseni Kanada. Karnatak raga Kanada has great resemblance to Huseni Kanada of North. Its aroha and avaroha are :

स ri गू म प म ध नि स - स नि सं ग ध प म गू म रि सु

(See Kanada).

IMAN

Hindustani

Iman is the same raga as Yaman, Eman or Kalyan

(See Kalyan).

Karnatak

There is no Karnatak raga called Iman. Karnatak raga Kalyani corresponds to Iman. (See Kalyani).

IMANI BILAVAL

Hindustani

Imani Bilaval is the same raga as Yamani Bilaval.

(See Yamani Bilaval).

Karnatak

There is no Karnatak raga called Imani Bilaval.

(See Yamani Bilaval).

140

RAGANIDHI

JAGANMOHANA

Hindustani

There is no Hindustani raga called Jaganmohana. This raga is different from a raga called Jaganmohini which is now introduced into Hindustani.

Karnatak

Jaganmohana is the old name for the 38th Melakarta Jalarnava (ra, ga, mi, dha, ni). Jaganmohana is a janya of the 38th Melakarta Jalarnava. Its jati is Shadava–Sampoorna. In aroha Ri is omitted. Aroha and avaroha are :

स ग₂ म₂ प ध₂ नि₃ सं—सं नि₃ ध₁ प म₂ ग₂ रि₁ स.

Svaras used are Suddha Ri, Suddha Ga, Prati Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha of Jaganmohana are :

स रि में प धु नि सं—सं नि धु प म रि स.

In the above Tivra Ri (रि) represents Suddha Ga of Karnatak. This is a rare raga. A composition in this raga is :

Srividyarajagopalam (Sanskrit)–Trisra Eka Tala

—Muttuswamy Dikshitar.

JAGANMOHINI or JAGAMOHINI

Hindustani

This raga is also called Jaganmohini. It has been introduced from the South during recent years. Jaganmohini is different from Jaganmohana (See Jaganmohana). Jaganmohini belongs to Bhairav That (Mayamalavagaula). Its jati is Audava–Shadava, Ri and Dh are omitted in aroha. In avaroha Dh is not used. Aroha and avaroha of Jaganmohini are :

स ग म प नि सं—सं नि प म ग रि स.

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, and Tivra Ni. Vadi is Ga and Samvadi Ni. This raga is sung during the second prahara of night. Jaganmohini has not yet become popular in the North. One type of raga Jait in which Dh is not used resembles Jaganmohini.

Jait—Ma is Tivra. Ri is used in aroha (See Jait).

141

JAIJ BILAVAL

Karnatak

Jaganmohini is derived from the 15th Melakarta Maya-malavagaula (ra, gu, ma, dha, nu) which corresponds to Hindustani Bhairav That. It is a Audava–Shadava raga. In aroha Ri 'and Dh are not used. In avaroha Dh is omitted. Aroha and avaroha of Jaganmohini are :

स ग₃ म₁ प नि₃ सं—सं नि₃ प म₁ ग₃ रि₁ स.

Svaras used are Suddha Ri, Antara Ga, Suddha Ma and Kakali Ni. According to Hindustani notation the aroha and avaroha are :

स ग प धु नि सं—सं नि धु प म ग रि स.

Antara Ga and Kakali Ni are jeeva svaras. Jaganmohini is a popular raga in the South. The following composition is often heard :

Sobillu saptasvara (Telugu)–Roopaka Tala–Tyagaraja.

Karnatak ragas Gaulipantu and Gaula are allied to Jaganmohini.

Gaulipantu–In one type Ga is not used in aroha. In the second type Ga is used in aroha but in a vakra sanchara. Ri is used in aroha. (See Gaulipantu).

Gaula–Ri is used in aroha. In one type Ga is not used in aroha. There are vakra sáncharas in avaroha (See Gaula).

JAIJ BILAVAL

Hindustani

This is a mixture of Jayajayavanti and Bilaval ragas in uttaranga and poorvanga respectively. It is a newly introduced raga. Its jati is Shadava–Sampoorna. In aroha some omit Pa while others drop Dh. Aroha and avaroha are :

स रि ग म प धु—म धु नि सं or म प नि सं—

सं नि धु प म ग रि—नि ग म धु स.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. In this raga unlike Jayajayanti Komal Ga is not used at all. Svara Ri is prominent. Pakad or Gunjan svara groups are रिगमप · धमगri · पनतरि.

142 RAGANIDHI वदि स. Vadi is Ri and Samvadi Pa. This is a night raga. Chalan of Jaij Bilaval is as under :

स प नि रि - रि त म रि - ग म रि स - रि म म - प ध म ग रि - ग प ध प - ध म ग रि - म प नि सं - सं रि - से रि में म ग मं सि - नि ति - नि ध प - ध प म म रि - रि ग म रि - ग रि स.

A composition in this raga is, Gyan Rang, Dhyana Rang—Jhap Tal (Madhya). Karnatak There is no raga called Jaij Bilaval nor one which resembles this Hindustani raga.

JAIT or JETH Hindustani Raga Jait or Jeth is different from Jait Kalyan which belongs to Kalyan That (See Jait Kalyan). Jait or Jeth belongs to Marwa That (Gamanashrama). There are the following types of this raga.

Type 1: In this type svaras Ma and Ni are completely omitted. Type 2: Svara Ma is slightly used. Type 3: Two kinds of Ri and two kinds of Dh are used. Type 4: Sampoorna Jait or Jeth. Type 5: Svara Dh is dropped.

Type 1 This is the most popular type of Jait or Jeth. Its jati is Audava-Audava. Svaras Ma and Ni are completely omitted. Aroha and avaroha are :

स रि प ध प सं—सं रि ग प रि स

Svaras used are Komal Ri, Tivra Ga, and Tivra Dh. Vadi is Pa and Samvadi is Sa. This is an evening raga. In its uttaranga this raga resembles Deshkar and in its poorvanga it resembles Bibhas. To create an evening effect it is necessary to keep the poorvanga prominent.

To remove Deshkar and Bibhas chhayas, the following sangatis are introduced frequently—सं प - ध प - ध प म. In aroha Ri is kept weak (dural) by svara group स रि प being

143 JAIT OR JETH used sometimes without Ri. Trend (chalan) of this type of Jait is as under :

स - रि स - रि - रि न प - प - ध प - रि त प - स ग प - प ध म - रि प - ग रि स । स स - रि त रि स रि सं - रि सं - प प न - रि प - सं रि - प प ग - न रि स - रि स । प प - ग रि स - स रि स । प व - सं स - सं रि सं - प प व - स ग प - स स ग प - ग सं प ध प - रि त - मं ध म ग - रि स ।

Compositions in this type of Jeth are: Thore Thore Dinanaki—Trital (Madhya). Sarana kar Tu Govinda—Tevra Tal (Madhya). Hindustani ragas Bibhas, Reva and Deshkar resemble this type of Jeth.

Bibhas—Dh is Komal. Vadi is Dh (See Bibhas). Reva—Dh is Komal (See Reva). Deshkar—Ri is Tivra (See Deshkar).

Type 2 In this type of Jait slight use of svara Ma is made in both aroha and avaroha. Tivra Ma is useded. Aroha and avaroha are :

स - रि ग प - ग प ध ग - मं ध म ग - प प - सं—सं - सं रि सं - (ग) प - ग प रि ग - मं ध म ग रि स.

Inclusion of Tivra Ma in the above gives an independent svaroop to this type of Jait. Trend (chalan) of this type is as under :

स - प - प - रि ग - म प - ग रि स । रि त रि स - ग प - ध प - प ध ग - मं ध म ग - रि स । प प - सं सं - सं रि सं - प प ग - स स ग प - ग सं प ध प - रि त - मं ध म ग - रि स ।

Type 3 In this type both Komal and Tivra Ri and both Komal and Tivra Dh are used. This is a pecular type. Trend or chalan of this type is as under :

न व न - स ग - प मं - ध प न ग - स - रि स - प़़़़़़प़! ग प सं—सं - सं रि सं - (ग) ग - न रि स प ग - मं ध - प - प ग - स ग - प मं - ध प - मं ध म ग - रि स !

144

RAGANIDHI

Type 4

This type is called Sampoorna Jait. Its Jati is Sampoorna-Sampoorna. Aroha and avaroha are,

स रि ग मं प ध नि सं—सं नि ध प मं ग रि स.

Svaras used are only of Marwa That. This type resembles Karnatak raga Gamanashrama which has the following aroha and avaroha :

स रि ग मं प ध नि सं—सं नि ध प म ग रि स.

(See Gamanashrama).

Type 5

Jati of this type of Jeth is Shadava-Shadava. Svaras Dh is not used. Aroha and avaroha are

स रि ग मं प नि सं—सं नि प मं ग रि स.

This type strictly speaking belongs to Poorvi That and is a kind of Jethashree which is different from Jait or Jeth, (See Jethashree). A type of Maligowra in which Dh is not used resembles this type of Jait. (See Maligowra).

Karnatak

There is no Karnatak raga called Jait or Jeth. There are no Karnatak ragas which are allied to the types 1, 2, and 3 of Jait or Jeth of Hindustani sangeet. Raga Gamanashrama which is the 53 Melakarta resembles the Sampoorna-Sampoorna type of Jait. Gamanashrama has the following aroha and avaroha.

स रि ग मं प ध नि सं—सं नि ध प मं ग रि स.

(See Gamanashrama).

Raga Mandari which is a janya of the 53rd Melakarta Gamanashrama, resembles the type 5 of Jait in which svara Da is not used. Aroha and avaroha of Mandari are,

स रि ग मं प नि सं—सं नि प मं ग रि स.

(See Mandari).

JAIT KALYAN

Hindustani

Jait Kalyan belongs to Kalyan That (Mechakalyani). This raga is different from Jait or Jeth which belongs to Marwa

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JALADHAR KEDAR

That (Gamanashrama). Its jati is Audava-Audava. Svaras Ma and Ni are Varjya Svaras. In aroha svara Ri is kept weak or durbal so that the aroha sounds as if it consists of only four svaras or Chatusvari jati. Aroha and avaroha of Jait kalyan are :

स ग प ध ग - प से or ष ध प सं—स ऱि सं - प - ध -प - ग - रि - स.

Svaras used are Tivra Ri, Tivra Ga, and Tivra Dh. Pakad or diagnostic svara groups are—स ग - प ध - ग प - रि स - प से. Vadi is Pa and Samvadi is Ri. In this raga sangatis सं प and ध ग are beautiful. Suppression of svaras Ri and Dh in aroha gives this raga an independent svaroop and distinguishes it from the allied ragas. Antara of raga begins with प प - सं - सं - रि से. This is an evening raga. It is sung even during the second prahara of night. Compositions in this raga are,

Jaiso Jaki Bhava—Trital—(Vilambit).

Ayo Savana Mas—Jhaptai—(Madhya)—S. N. Ratanjankar.

Hindustani ragas Bhoop, Deshkar and Audava Deogiri resemble Jait Kalyan.

Bhoop:-Vadi is Ga. Ri is used prominently in aroha. Sangati ध ग is not used. (See Bhoop).

Deshkar:-Vadi is Dh. Ri is used in a straight way frequently (See Deshkar).

Audava Deogiri: Vadi is Dh. Svaras group स रि ग॒ड with Ga elongated is a feature. (See Audava Deogiri).

Karnatak

There is no raga called Jait Kalyan in Karnatak sangeet. Raga Mohana, derived from the 28th Melakarta Harikamboji (Khamaj That) resembles Jait Kalyan. Raga Mohana has the following aroha and avaroha,

स रि ग प ध सं—सं ध प म ग रि स.

(See Mohana).

JALADHAR KEDAR

Hindustani

Jaladhar Kedar belongs to Bilaval That. (Dheerasankara-bharana). There are two types of this raga—(i) Audava-Audava (ii) Audava-Shadava.

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RAGANIDHI

Type 1

In the Audava-Audava type svaras Ga and Ni are omitted. Aroha and avaroha of Jaladhar Kedar are,

स रि म प म प ध स॑ or स रि॑ स म म प ध स॑—स॑ रि॑ मे

नि॑ स॑ ध प म प म रि स॑—ध प म रि सु स॑—ध प म॑ रि स॑.

Svaras used are all Suddha svaras of Hindustani sangeet. Pakad or Gunjan svara groups are—स रि प म॑—रि स म प ध स॑—

ध प म॑—ध प म॑—रि स॑—म॑. Vadi is Ma and Samvadi is Sa. This raga is a mixture of Kedar and Malhar ragas. In Jaladhar

Kedar svara Ma is kept isolated and elongated as ध प म॑—

धि प म॑. This gives a grandeur to the raga. In this raga sangatis रि प and म रि are introduced here and there. As svaras

Ni and Tivra Ma are absent this raga sounds different from Kedar, Elongated Ma gives it a Malhar chaya.

There is also a chaya of raga Durga. But the prominence given to svara Ma removes this Durga effect. Elongated Ma

brings in the effect of raga Bhavani but in Bhavani svara Pa is not used at all. A composition in this raga is,

Ati Manohar Rupa—Jhaptal (Madhya)—Lakshangeet.

Hindustani ragas Kedara, Durga, Bhavani and Suddha

Malhar resemble Jaladhar Kedar of the above type.

Kedar:- Svaras Ni and Tivra Ma are used. (See Kedar.)

Durga :- Ma is not elongated (See Durga).

Bhavani :- Svara Pa is not used (See Bhavani).

Suddha Malhar- Ma is elongated as सरीमम

(See Suddha Malhar)

Type 2

In the Audava-Shadava type of Jaladhar Kedar, svaras Ga and Ni are omitted in aroha. In avaroha only svara Ga is

dropped. In the avaroha both kinds of Ni are used. Aroha and avaroha of this type of Jaladhar Kedar are :

स रि म म प ध स॑—स॑ नि॑ स॑—धि॑ ध प म॑—म प म रि स॑.

Vakra sanchara in aroha स रि म and use of Ni in avaroha remove the chaya of Durga. Svar Ma is given importance to.

This type is also a pleasing one. A composition in this type of Jaladhar Kedar is :

Aje Piya Nahi Aye Sakhiri—Jhaptal (Madhya).

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JALARNAVA

Karnatak

There is no Karnatak raga called Jaladhar Kedar nor one which resembles either types of Hindustani Jaladhar Kedar.

JALADHARSARANG

Hindustani

This rare raga is interesting on account of the fact that it consists of only three svaras—Trisvari jati (Samika). According

to rules pertaining to ragas there should be at least five svaras to give rise to a raga. But there are instances of ragas having

only four svaras and are still interesting and beautiful. Mala-shree and Bhavani are such Chatusvari ragas. (Svarantara).

Jaladhar Sarang and one type of Malashree are two ragas which are known to consist of only three svaras. In Jaladhar

Sarang these are Sa, Ri and Ni. Chalan of Jaladhar Sarang is said to be as under :

स नि॑ रि॑—नि॑ स रि॑ स—रि॑ स नि॑—स नि॑—रि॑ स—नि॑ नि॑ स॑—

नि॑ रि॑ स॑—नि॑ रि॑ स॑.

In this raga Ri is said to be higher than Tivra Ri (Chada) and Ni is slightly lower than Komal Ni (Utari).

Karnatak

There is no Karnatak raga called Jaladhar Sarang nor one which resembles this Hindustani raga.

JALARNAVA

Hindustani

There is no Hindustani raga called Jalarnava, nor one which resembles this Karnatak raga.

Karnatak

Jalarnava is the 38th Melakarta (ra, ga, mi, dha, ni). According to Dikshitar school this Melakarta is called Jagan-mohana. Svaras used are Suddha Ri, Suddha Ga, Prati Ma,

Suddha Dh and Kaisiki Ni. Aroha and avaroha of raga Jalarnava are :

स रि ग1 म प ध1 नि3 से—नि2 ध1 प म2 ग1 रि1 स.

According to Hindustani notation the aroha and avaroha are :

स रि म प ध नि से—स नि ध प म रि स.

In the above svaras Tivra Ri (रि) stands for Suddha Ga of Karnatak system. Jalarnava is not a popular raga. Compositions in this raga are—

Kanaka Mayura—Adi Tala—Kotiswara Iyer.

Maheshwari Kavooma Uma—(Telugu) — Chatusra Triputa Tala—Balamurali Krishna.

JANARANJINI

Janaranjini is a raga which has been borrowed from the South. B. Umdekar of Gwalior has tried to popularise this raga in the North. Janaranjini belongs to Bilaval That (Dheera-sankarabharana). Its jati is Shadava-Audava. In aroha, svara Dh is dropped. In avaroha svaras Ga and Ni are omitted. Aroha and avaroha of Janaranjini are :

स - रि ग म प - नि सं—संड - ध प - म रि ग॒रू म - प ध रि स.

Svaras used are Suddha svaras of Hindustani sangeet. Pakad or chief raga anga svara groups are स प निड सं ध प - म - रि न प - म रि स. Although it is used only in aroha, svara Ni is the most important svara in this raga. Sangatis म रि and पृथु are attractive. Raga vistara (elaboration) is mostly in madhya and tara saptaks. This raga has not become popular yet. Compositions in Janaranjini are :

Sundara Shyama Hamari—Ektal (Vilambit) — M. P. Rasik.

Sourabh Boonda Jhare—Trital (Madhya) – M. P. Rasik.

Janaranjini is derived from the 29th Melakarta Dheera-sankarabharana (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of Hindustani sangeet. Its jati is Sampoorna-Audava. In avaroha svaras Ga and Ni are omitted. There is a vakra sanchara in aroha. Aroha and avaroha of Janaranjini are:

स रि ग2 म1 प ध2 नि3 सं—सं ध2 प म1 ग2 रि2 स.

Svaras used are Chatsruti Ri, Antara Ga, Suddha Ma, Chatsruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are,

स रि म प ध नि से—सं ध प म रि स.

Janaranjini is heard in concerts. The following compositions are sung ;

Smarane Sukham (Telugu)—Adi Tala—Tyagaraja.

Vidajaladura (Telugu) Adi -Tyagaraja.

Nadadinamata— Telugu—Misra Chapu— Tyagaraja.

Pahi mam Sri Rajarajeswari— Sanskrit—Adi Tala —Ramaswami Sivan.

JANGULA (Asavari That)

Raga Jangula is also called Jingla or Jangla. Jangula belonging to Asavari That, (Natabhairavi) is a Sampoorna-Shadava raga. In its avaroha svara Ma is omitted. Aroha and avaroha of this type of Jangula are :

स रि न म प ध नि सं—सं ध नि प गू रि स.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, both Komal and Tivra Dh and Komal Ni. Usually svara group स रि न म sounds like Gandhari. In the svara group पृथु सं ध नि से first Dh is Komal and the second Dh is Tivra. This raga is considered to be a kshudra raga or an inferior raga meant for light music. A composition in this raga is :

Yeri Sakhiri Mil—Ektal (Madhya).

Raga Jingla is derived from the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which corresponds to Asavari That of Hindustani sangeet. Its jati is Sampoorna-Sampoorna. Its aroha and avaroha are,

स रि ग2 म1 प ध1 नि2 सं—सं नि2 ध1 प म1 ग2 रि2 स.

Svaras used are Chatsruti Ri, Sadharana Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation

150

RAGANIDHI

the aroha and avaroha are,

स ri ग म प नि ध प सं—सं नि ध प म ग ri स.

There is vakra sanchara in aroha नि ध प सं. This sounds beautiful. This raga is not a popular one. But the following composition is sometimes heard.

Ananthudanú Ganu (Telugu)—Adi Tala—Tyagaraja.

Raga Jingla of Karnatak sangeet has some resemblance to the Hindustani raga Jangula or Jingla of Asavari That. But in the Hindustani Jingla, in aroha Tivra Ga and in avaroha Komal Ga are used. Tivra Ni is also occasionally used in aroha. In avaroha Ma is not used.

JANGULA (Bhairav That)

Hindustani

Raga Jangula of Bhairav That (Mayamalavagaula) is a Shadava-Sampoorna raga. In aroha svara Dh is omitted. Aroha and avaroha of this type of Jangula are

स ri ग म प ध नि सं—सं ग नि ध प - म प - ग ri म ग ri स.

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal Ni and Tivra Ni. Komal Ni is more in evidence than Tivra Ni. Tivra Ni is used only in aroha slightly. Komal Ni is used only in avaroha. Komal Dh is also occasionally used in avaroha. This raga is not a popular raga. A composition in this raga is :

Mo Shumayee Gudajanto Suma—Ektal (Vilambit)

—Sindi Khansahib.

Hindustani raga Ananda Bhairav has some resemblance to Jangula of Bhairav That.

Ananda Bhairav—Svara Ma is elongated and isolated

(See Ananda Bhairav).

Karnatak

Karnatak raga Jingla has no resemblance to Hindustani raga Jangula or Jingla belonging to Bhairav That. Karnatak raga Jingla is described under Jangula of Asavari That as they have resemblance to each other

151

JAYA BHAVANI

JAYA BHAVANI

Hindustani

This raga has been composed by B. Subba Rao. Raga Jaya Bhavani has been formed by combining the two ragas Jayajayavanti and Bhavani. Raga Bhavani may be taken to be Durga of Bilaval That with svara Pa omitted. This raga has only four svaras. Its jati is Chatusvari-Chatusvari. (Svarantara). Aroha and avaroha of Bhavani are :

स ri म ध सं—सं ग म ri स.

In raga Bhavani svaras Ga, Pa and Ni are completely omitted. (See Bhavani). Raga, Jaya Bhavani is obtained by adding Jayajayavanti anga consisting of svaras प़ नि ri स to raga Bhavani while ending the avaroha, Jati of Jaya Bhavani is Chatusvari-Audava. Svaras Ga, Pa and Ni are omitted in aroha. In avaroha svaras Pa and Ga are not used. Aroha and avaroha of Jaya-Bhavani are—

स ri म ध सं—दे ग म ध - ri स - प़ नि ri स - म ध-

Svaras used are Tivra Ri, Suddha Ma, Tivra Dh and Komal Ni. Pakad or Gunjan svara groups are प़ नि ri स - म ध - ri स. Svaras groups ri नि ri स and प़ नि ri स are kept prominent. Halt on svara Ma as in प़ नि ri स म and स ri म ध sounds beautiful. While singing this raga, the Pa wire of tamboora should be tuned to Ma. Halt on svara Ma in unison with the Ma of tamboora sounds beautiful. This raga possesses Gambhirya. It is a night raga. In raga Jaya Bhavani there are chhāyas of ragas Jaladhar Kedar and Gorakh Kalyan. Being a new raga it has yet to gain popularity. Trend (chalan) of this raga is as under—म ध - ri स - प़ नि ri स - म ध - ri म ध सं - ष ध सं - ri म ri सं - प़ नि ri5 ri' में ri' सं में ri' सं - ग ध सं - ग सं म ध - riड - सड - प़ नि ri स - म ड ।

Svaras Ri and Ma are kept elongated. A composition in 'in this raga is :

Raga Jaya Bhavani Mishrita—Trital (Madhyam)—Lakshana-geet—B. Subba Rao.

152

RAGANIDHI

Karnatak

There is no Karnatak raga called Jaya Bhavani nor one which resembles this Hindustani raga.

JAYAJAYAVANTI

Hindustani

Jayajayavanti is a popular raga. It belongs to Khamaj That (Harikamboji). Jati of Jayajayavanti is Sampoorna-Sampoorna.

Aroha and avaroha of this raga are :

स·रि·ग·म·प·ध·नि·स्—स·नि·ध·प·म·ग·रि·स.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Pakad or diagnostic svara groups are—रि ग ri स, ri ग ri म·प·ध·नि·स·नि ध प म ग ri स.

Vadi is Ri and Samvadi is Pa. Sangati ग ri is frequently used. Svara group ध नि ri is characteristic of this raga, and is called the Jayajayavanti anga. This raga is sung in the night and is a very appealing raga full of majesty.

There are two types of this raga—

Type 1 : With Bageshree anga (ग ri म ri ध ri स)

Type 2 : With Desh anga (ग म प ri ध ri स)

Popular compositions in this raga are :

Palana Ghada La— Trital (Vilambit),

Jhoola Palana Brijaraja— Roopak Tāl (Madhya).

Achapala Dheeta -- Trital (Drut)

Hindustani raga Gara has some resemblance to Jayajayavanti.

Gara—नि ध ri ग svara group is not used (See Gara).

Karnatak

There is no Karnatak raga called Jayajayavanti. There is a raga called Jeejavanti or Dvijavanti which resembles Hindustani raga Jayajayavanti.

JAYAKAUNS

153

Aroha and avaroha of Dvijavanti according to Hindustani notation are :

स रि ग म प ध नि स्—सं नि ध प म ग ri स.

(See Dvijavanti).

JAYAJAYAVANTI KANADA

Hindustani

Jayajayavanti Kanada is a mixture of two popular ragas Jayajayavanti and Kanada. This raga is however different from Jayanta Kanada. Chalan of this raga is as under :

स·नि स·रि ग म·ri स·ध नि·ग ri·ri स·ग म प·ग म ri प·नि स·नि ध ri ग ri । म प ध·ग म ri स·ध नि·ग ri । म प सं·नि से ध·नि सं·ध ri

ri·गुं ri' सं·नि से ri' नि·ध प·तिव ri·नि म प ग·म·ri ग स प·गु·

म ri स·ध नि·ग ri.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh & both Komal and Tivra Ni. Pakad or Gunjan svara groups are:

ri ग म ri स नि ri ग म·ri स·ध नि·ग ri.

In this raga some keep Jayajayavanti anga more prominent than Kanada while others give prominence to Kanada anga. A composition in this raga is :

Neka Na Jane Tu-- Ektal (Vilambit)— S. N. Ratanjankar.

Karnatak

There is no raga called Jayajayavanti Kanada nor one which resembles this Hindustani raga.

JAYAKAUNS

Hindustani

This rare raga belongs to Kafi That (Kharaharapriya). Its jati is Audava-Audava. Svaras Ri and Pa are omitted in this raga. Aroha and avaroha of Jayakauns are :

नि स ग म म ग ध नि स—सं नि ध म म ग म गु स.

12

154

RAGANIDHI

Svaras used are Komal Ga, both Suddha and Prati Ma, Tivra Dh and Tivra Ni. Diagnostic svara groups or Pakad consists of:-

स ग म म -नि ध म म ग स

Both Ma are used as म म म as in raga Lalit and this gives beauty to the raga. Vadi is Suddha Ma and Samvadi Sa. This raga seems to have Chandrakouns as the base on which Lalit anga has been introduced for ranjakatva. Svara group म म म gives Lalit chaya. This raga is sung during second prahara of night. Compositions in raga Jayakauns are :

To So Dil Diya— Jhumra Tal (Vilambit) —Amir Khushru.

Ye Ri Jasoda Tose— Trital (Madhya).

Karnatak

There is no raga called Jayakauns and no Karnatak raga resembles Jayakauns of Hindustani.

JAYAMANOHARI

Hindustani

There is no Hindustani raga called Jayamanohari. Aroha of Jayamanohari sounds like that of Abhogi Kanada and avaroha like Suddha Bageshree. Aroha and avaroha of Jayamanohari are :

स रि म ध स—नि ध म ग रि स.

(See Abhogi and Bageshree).

This is a pleasing raga which can be included under ragas of Kafi That (Kharaharapriya).

Karnatak

Jayamanohari is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni). Its jati is Audava-Audava. Pa and Ni are not used in aroha. In avaroha Pa is omitted. Aroha and avaroha are :

स रि2 ग1 म1 ध2—स नि2 ध2 म1 ग2 रि2 स

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma,

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JAYANARAYANI

Chatusruti Dh and Kaisiki Ni. According to Hindustani notation the aroha and-avaraha are :

स रि ग म ध स—नि ध म ग रि स

Ga, Ma and Dh are the jeeva svaras. A special sanchara रि ग sounds beautiful. This raga sounds like a combination of Abhogi in aroha and Shriranjini in avaroha. (See Abhogi and Shriranjini). The following composition in this raga is very popular.

Nee Bhakti Bhagya Sudha— (Telugu) —Roopaka Tala —Tyagaraja.

JAYANARAYANI

Hindustani

There is no Hindustani raga called Jayanarayani. Hindustani raga Gopikambodi resembles Jayanarayani of South. Gopikambodi has the following aroha and avaroha—

स रि ग म प ध स—नि ध प म ग रि स.

(See Gopikambōdi).

Karnatak

Jayanarayani is a janya of 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi That. It is a Shadava-Sampoorna raga. Ni is omitted in aroha. Aroha and avaroha of Jayanarayani are :

स रि2 ग2 म1 प ध3 स—स नि2 ध2 प म1 ग2 रि2 स.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma, Chatusruti Dh and Kaisiki Ni. Aroha and avaroha according to Hindustani notation are :

स रि ग म प ध स—स नि ध प म ग रि स.

Sadharana Ga and Chatusruti Dh are the raga chaya svaras of Jayanarayani. In this raga svara Ga is elongated in aroha. Jayanarayani is not a very popular raga. The following composition is sometimes heard—

Manavini Vinuma (Telugu)— Adi Tala —Tyagaraja.

156

RAGANIDHI

JAYANTH

Hindustani

Raga Jayanth belongs to Kafi that (Kharaharapriya). Its jati is Audava-Shadava. Svaras Ri and Ni are omitted in aroha. In avaroha svara Ri is dropped. Aroha and avaroha of Jayanth are:

स ग म प ध स-सं त्रि ष म ग स.

Svaras used are Komal Ga, Suddha Ma, Tivra Dh and Komal Ni. Pakad or Gunjan svara groups are :

स ग म - प ध - नि ध प - स ग स.

Vadi is Ga and Samvadi is Dh. This raga is sung between 9 p.m. and midnight. It is a very pleasing raga and deserves to be popularised. A composition in this raga is :

Paniya Bharana Mohe Jane De- Trital.

Karnatak

There is no Karnatak raga called Jayanth only. Jayanthasena of South has exactly the same svaroop as Hindustani raga Jayanth. Aroha and avaroha of Jayanthasena are :

स ग म प ध स-सं त्रि ष प - म ग स.

(See Jayanthasena).

JAYANTHA KANADA

Hindustani

Some consider Jayantha Kanada and Jayajayavanti Kanada to be one and the same raga. There are others who think that Jayantha Kanada is a different raga. Jayantha Kanada is a Shadava-Shadava raga. Dh is omitted in this raga. Chalan of this raga is as under,

रि गु ध - रि स - रि ति रि स - त्रि प - ग म रि स - नि स - म म - प प - नि प - नि सें-ध रि' सं-रि' नि स ग - ग म प - रि स.

Svaras used are Tivra Ri,Komal Ga,Suddha Ma, and Komal Ni. In Jayantha Kanada it should be noted that only Komal

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JAYANTHA MALHAR

Ga is used, and Dh is omitted. It is not so in the case of Jayajayavanti Kanada. (See Jayajayavanti Kanada).

Jayantha Kanada is not a popular raga. The following composition in this raga is available.

Tuma Bina Kon Kare Dukh Dur-Jhumra Tal (Madhya).

Karnatak

There is no Karnatak raga called Jayantha Kanada. No Karnatak raga resembles this Hindustani Raga.

JAYANTHA MALHAR

Hindustani

This raga is also called Jayajayavanti Malhar. It is formed by the fusion of ragas Jayajayavanti and Malhar. Its Jati is Audava-Sampoorna. Svaras Ma and Ga are not used in aroha. Aroha and avaroha of Jayantha Malhar are :

स म रि ध रि नि ध स-सं ध प म रि गु रि स - नि स ध नि - रि स.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh, and both Komal and Tivra Ni. Pakad or diagnostic svara groups are ति. प नि. स - प ध नि रि - रि ग़ु - म रि स. Vadi is Pa and Samvadi is Sa. Some suggest the reverse arrangement. This raga is sung between 9 p.m. and midnight. In this raga anga of Jayajayavanti is found in poorvanga and that of Malhar in uttaranga. These angas are as under :

Jayajayavanti anga-स . रि ध . प - नि ध प - नि रि स रि

Malhar anga- म रि प ग म रि - नि ध नि स - ध नि प etc.

Some musicians sing this raga with Malhar in poorvanga and Jayajayavanti in uttaranga. It is difficult to sing in this way and it is not also very effective.

Compositions in Jayantha Malhar are :

Phuli Phulanaki Phulavari - Ektal (Vilambit) - Khyal

—J.D. Patki,

158 RAGANIDHI

Laga Raga Mana - Ektal (Vilambit) - Khyal - V. N. Patwardhan.

Barase Badariya Savanaki - Teental - (Madhya)

Ragas Jayajayavanti and Mia Malhar are allied to Jayantha Malhar.

Jayajayavanti - नि ष नि सं is not used. (See Jayajayavanti).

Mia Malhar - रि ग रि - प ति - प नि, ति are not used. (See Mia Malhar).

Karnatak

There is no Karnatak raga called Jayantha Malhar. There is no Karnatak raga which resembles this Hindustani raga.

JAYANTHASENA

Hindustani

There is no Hindustani raga called Jayanthasena. Raga Jayanth of Hindustani sangeet is identical with the Karnatak raga Jayanthasena. Jayanth of Hindustani sangeet has the following aroha and avaroha :

स गु म प ध सं—सं नि ध प म गु स.

(See Jayanth).

Karnatak

Jayanthasena is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to the Hindustani : Kafi That. Its jati is Audava-Shadava. Svaras Ri and Ni are omitted in aroha. Svara Ri is dropped in avaroha. Aroha and avaroha of Jayanthasena are :-

स रि2 म1 प ध2 सं—सं नि2 ध2 प म1 ग2 स.

Svaras used are Sadharana Ga, Suddha Ma, Chaturasruti Dh and Kaisiki Ni. According to the Hindustani notation aroha and avaroha are :

स गु म प ध सं—सं नि ध प - म गु स.

Sadharana Ga and Chaturasruti Dh are the raga chaya svaras. Jayanthasena has the same aroha and avaroha as the Hindustani raga Jayanth (See Jayanth).

JAYANTHASHREE 159

Jayanthasena is a very pleasing raga but not a popular one. The following composition is sometimes heard.

Vinata Suta (Telugu) - Adi Tala - Tyagaraja.

JAYANTHA SHANKARA

Hindustani

Jayantha Shankara is a rare raga. This raga is formed by combining the two ragas Jait Kalyan (Kalyan That) and Shankara. The main svaroop of this raga consists of

प ध नि सं नि प - ग म प ध नि ग.

Trend (chalan) of Jayantha Shankara is as indicated below.

नि ध सं नि प ग प - ग म प - ग रि ग - प ध नि सं रि’

सं रि’ से रि’ नि प ग प - ध नि सं - ग रि स.

A composition in this raga is -

Bána Bana Bana Dhoonda - Trital (Madhya).

Hindustáni raga Shankara closely resembles Jayantha Shankara.

Shankara - Svara group प ध ग is not used.

(See Shankara).

Karnatak

There is no Karnatak raga called Jayantha Shankara. Karnatak raga Hamsadhvani resembles Jayantha Shankara. But in Hamsadhvani Dh is not used.

(See Hamsadhvani).

JAYANTHASHREE

Hindustani

There is no Hindustani raga called Jayanthashree. During the last thirty years a raga under the name of Pancham Malakosh has been introduced in Maharashtra in imitation of raga Jayanthashree of South. Aroha and avaroha of Pancham Malakosh are :

स गु म प नि सं—सं नि ध प म ग स.

(See Pancham Malakosh).

160

RAGANIDHI

Some call this Sunderkauns. But there seems to be another raga also called Sunderkauns (See Sunderkauns).

Karnatak

Jayanthashree is a janya of the 20th Melakarta Nata-bhairavi (ri, gi, ma, dha, ni) which corresponds to the Hindustani Asavari That. Jayanthashree is an Audava-Shadava raga with a slight vakra sanchará in avaroha. Aroha and avaroha of Jayanthashree are :

स ग₂ म₁ ध₁ नि₂ स—स नि₂ ध₁ म₁ ग₂ स.

Svaras used are Sadharana Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. In aroha Ri and Pa are omitted. In avaroha Ri is not used.

According to Hindustani notation the aroha and avaroha are :

स गू म यु धु सं—स नि₂ धु प म गू स.

Suddha Dh and Sadharana Ga are the raga chaya svaras Jayanthashree is a very pleasing raga. But this raga is not as popular as raga Hindola which it resembles. Raga Hindola corresponds to Hindustani raga Malakosh. A popular composition in Jayanthashree is :

Marugelara Oh Raghava—(Telugu)—Adi Tala—Tyagaraja.

Karnatak raga Hindola resembles Jayanthashree.

Hindola—Svara Pa is not used (See Hindola).

JAYARAJ

Hindustani

This is a rare raga belonging to Bilaval That (Dheera-sankarabharana). Its jati is Audava-Audava. In aroha svaras Ri and Ga are not used. In avaroha svaras Ni and Ga are not used. Aroha and avaroha of raga Jayaraj are :

चु रि म . रि . म प - म धू रि ध - प ध नि सं . रि सं . 'धु . म प धु

प . 'रिड स.

161

JAYAVANTI

Svaras are all Suddha svaras of Hindustani saṅgeet. Pakad or diagnostic svara groups are :

म ध नि सं - रि' सं ध प - म - ध - म रिड स.

Vadi is Ma and Samvadi is Sa. This raga is full of vakra sancharas. Meends are important. Rapid tanas should not be taken as they do not sound well in this raga. Meend रि' सं ध प is characteristic of this raga. This raga is sung at about midnight. In raga Jayaraj chayas of Kedar, Durga, Bhatiyari, Rageshree and Nand ragas are found as under :

Kedar—सु . म प मड स . म रि रि स.

Durga—म धड प.

Bhatiyari—नि ध प म.

Rageshree—म प नि सं रि' स.

Nand—ध प रिड स or ध प म प रिड स.

Raga Jayaraj is said to have been composed by Pandit Jayaraj of Puri Jagannath.

A composition in this raga is :—

Baje Sakhi Jhanana - Trital (Madhya)—J. D. Patki.

Karnatak

There is no Karnatak raga called Jayaraj. There is no raga of South which resembles the Hindustani raga Jayaraj.

JAYAVANTI

Hindustani

This is different from Jayajayanti. This is a rare raga belonging to Todi That (Subhapanṭuvaráli). Its jati is Audava-Shadava. In aroha Dh and Ni are omitted. In avaroha Ni is not used. Its aroha and avaroha are :

स रि गू . म प सं—स ध प - म गू रि स.

Svaras used are Komal Ri, Komal Ga, Tivra Ma and Komal Dh. Pakad or Gunjan svaras are—स रि गू म प धू प मं गू

रि स. Vadi is Sa and Samvadi Pa. This raga is sung during the

162 RAGANIDHI second prahara of the day. This raga is suited for compositions having Sringara rasa. The following is a composition in raga Jayavanti. Madhura Gana Gaye Radhe—Dadra Tal—Y. D. Bhatt. Raga Mooltani is!allied to Jayavanti. Mooltani—Ni is used in both aroha and avaroha. Ri is not used in aroha.

(See Mooltani).

Karnatak There is no Karnatak raga called Jayavanti. Karnatak raga Mecha Bangala has some resemblance to Jayavanti. Mecha Bangala is a janya of the 44th Melakarta Bhavapriya (ri, gi, mi, dha, ni). Its aroha and avaroha according to Hindustani notation are :

स ri नि m प् dha ध ni स—स ri घ् gha प m धु ni ri स.

In Mecha! Bangala Ni is used in aroha, Komal Ni (नि) used.

JEEVANPURI Hindustani This raga is also called Jounpuri. It belongs to Asavari That (Natabhairavi). Its jati is Shadava-Sampoorna. In aroha Ga is omitted. Aroha and avaroha of Jeevanpuri are :- स ri म प् dha ध ni सं—स ri ग् ga म ri ग् ga रि sa.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Komal Dh and Komal Ni. Pakad or Gunjan svara groups are : म ri ग् ga प् dha प म ri ग् ga—ri ग ri स.

Vadi is Dh and Samvadi is Ga. This is an uttaranga raga. Svará Komal Ni is frequently used and nyasa is made on Pa as ri म प. The following svara groups are used frequently.

स ri म प् dha प म ri ग ri म प्—स ri ग् ga प etc This raga is sung during the second prahara of the day. Popular compositions in Jeevanpuri are :- Baje Jhanana Jhanana—Jhumra Tal (Vilambit). Payala ki Jhana - Trital (Madhya). Hindustani ragas Asavari, Devagandhari and Gandhari are allied to Jeevanpuri.

163 JEEVANTINI Asavari—Svara Ni is not used in aroha. (See Asavari). Devagandhar—Svara Ri is not used in aroha. Sung with Dhanashree anga. Svara group प् dha प् ध ni स is used. (See Devagandhar). Gandhari—Uses two Gandhars. (See Gandhari).

Karnatak Hindustani raga Jeevanpuri itself has become popular in the South. Karnatak raga which corresponds to Jeevanpuri is Suddha Deshi which is a janya of the 20th Melakarta Natabhairavi. Aroha and avaroha of Suddha Deshi, according to Hindustani notation are :

स ri म प् dha ध ni स—स ri घ् gha प म ri ग ri स.

(See Suddha Deshi). Natabhairavi which is Melakarta No. 20 corresponds to Asavari That. It resembles Jeevanpuri. But svara Ga is used in aroha also. (See Natabhairavi).

JEEVANTINI Hindustani There is no Hindustani raga called Jeevantini. Hindustani raga Harikauns resembles Jeevantini of south to some extent. Harikauns has the following aroha and avaroha.

स ri ग् ga म ri ध ni स—स ri नि dha ष gha ri स.

(See Harikauns) It should be noted that in Harikauns Ri and Pa are not used while in Jeevantini only Ri is not used.

Karnatak Jeevantini is a rare raga. It is derived from the 48th Melakarta Divyamani (ra, gi, mi, dhi, nu). Its Jati is Audava-Audava. In aroha svaras Ri and Ga are omitted. In avaroha svaras Dh and Ri are not used. Aroha and avaroha of Jeevantini are :

स म2 प् dha नि स—स नि3 प म2 ग2 स.

Svaras used are Sadharana Ga, Prati Ma, Shatsruti Dh and Kakali Ni. According to the Hindustani notation aroha and avaroha of Jeevantini are :

स मं प नि सि रि सं नि प मं गू स.

Komal Ni (नि)stands for Shatsruti Dh of Karnatak sangeet.

A composition in Jeevantini is :

Nee Chittamu Bhagyam (Telugu)—Adi Tala—Tyagaraja.

JETASHREE

Hindustani

Jetashree which is also called Jayashree, belongs to Poorvi That (Kamarardhini). Its jati is Audava-Sampoorna. Svaras Ri and Dh are omitted in aroha. Aroha and avaroha of Jetashree are :

नि स ग प मं ग मं प धू प नि सं—डि सं—नि धू प मं ग मं—मं—नि स.

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Komal Dh and Tivra Ni. In Jetashree there are chay as of Pooria Dhanashree and Shree. Vadi is Ga, Samvadi is Ni. Some suggest Pa as Vadi and Sa as Samvadi. Svara group स त मं ग is sounds beautiful in this raga. Chalan of this raga is as under :

नि स ग—प मं ग मं—ग प मं—ग म ग—रि स नि—स ग मं प धू प—नि धू प—मं ग मं—रि स । प—सं सं—डि सं—नि सं—गं रि सं नि—सं गं नि—प प—प मं—ग मं—ग—डि स ।

This is an evening raga. Compositions in Jetashree are :-

Halariya Mayee—Jhumra Tal.

Mana Tum Sana Lagana—Trital (Vilambit) —S. N. Ratanjankar.

Hindustani ragas Pooria Dhanashree and Shree have some resemblance to raga Jetashree.

Poorvi Dhanashree—नि स ग प is not used. नि स—रि ग मं प is used. मं ग मं रि स is used. (See Poorvi Dhanashree).

Shree—मं प नि सं and रि हि स are used frequently.

(See Shree).

Karnatak

There is no Karnatak raga called Jetashree. There is a Karnatak raga called Jayashree which is a janya. of the 21st Melakarta Kirvani (ri, gi, ma, dha, nu). Aroha and avaroha according to Hindustani notation are :

स रि ग म प धु नि सं—सं धु प म ग रि स.

This a pleasing raga but is not in currency. This raga has no resemblance to the Hindustani raga Jetashree or Jayashree.

There is a raga called Jayantashree which is entirely different from the Hindustani raga Jetashree.

Two Karnatak ragas Deepak and Bhogavasanta have some resemblance to raga Jetashree. Aroha and avaroha of these two ragas are :

Deepak.—स ग मं प धु सं—सं धु प नि प मं ग रि स.

(See Deepak).

Bhogavasanta—स ग मं प धु प सं—सं धु नि प मं ग रि स

(See Bhogavasanta)

Bhogavasanta is not a popular raga.

JHALAVARALI

Hindustani—

There is no Hindustani raga called Jhalavarali. There is no Hindustani raga which resembles this Karnatak raga.

Karnatak

Jhalavarali is Melakarta No 39 of Karnatak Sangeet (ra, ga, mi, dha, nu). According to Dikshitar school this raga is called Dhalivarali. Aroha and avaroha of this Sampoorna-Sampoorna raga are :-

स रि₁ ग₂ म₂ प ध₁ नि₃—सं नि₃ ध₁ प म₂ ग₂ रि₁ स.

Svaras used are Suddha Ri, Suddha Ga, Prati Ma, Suddha Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :-

स रि ग म प ध नि सं—सं नि ध प म ग रि स.

Tivra Ri (ri) stands for Suddha Ga of Karnatak sangeet. Jhalavarali is not a popular raga. The following compositions are sometimes heard.

Kanakaruohira (Telugu)—Adi Tala—Tyagaraja. Noremi Shri Rama (Telugu)—Adi Tala—Tyagaraja.

JHANKARADHVANI

Hindustani

There is no Hindustani raga called Jhankaradhvani. There is no Hindustani raga which resembles this Karnatak raga.

Karnatak

Jhankaradhvani is the 19th Melakarta raga (ri, gi, ma, dha, na). According to Dikshitar school this Melakarta is called Jhankara Bhramari. Aroha and avaroha of this Sampoorna-Sampoorna raga are—

स रि ग म प ध नि सं—सं नि ध प म ग रि स.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma, Suddha Dha and Suddha Ni. According to Hindustani notation the aroha and avaroha are,

स रि ग म प ध नि—सं ध प म ग रि स.

Tivra Dh (ध) stands for Suddha Ni of Karnatak Sangeet. Jhankaradhvani is not a popular raga. The following composition in the raga is available :—

Phani Pati Sayee (Sanskrit)—Adi Tala—Tyagaraja. According to Dikshitar school, in the aroha, a vakra sanchara ध, नि ध1 प ध1 से is given. A composition with this sanchara is!

Himachala Kumareem Bhaje (Sanskrit)—Trisra Eka Tala— Muttuswamy Dikshitar.

JHILAF (Asavari That)

Hindustani

There are two types of Jhilaf. Type I belongs to Asavari That (Natabhairavi). Type II belongs to Bhairav That (Mayamalavagaula).

JHILAF (BHAIRAV THAT)

Hindustani

Jhilaf of Asavari That is a Shadava-Sampoorna raga. Svara Ri is not used in aroha. Aroha and avaroha of this type of Jhilaf are :-

नि स ग म प ध प—प ध नि—नि ध प म ग रि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Komal Dh and Komal Ni. Vadi is Dh. Svara groups म प म and ग रि स are used frequently. This raga is said to have been invented by Amir Khusru. It is said to be a mixture of the two ragas Khat and Jeevanpuri. This raga is sung in the morning. Compositions in this rare raga are—

Hajrat Ali Anude—Trital (Madhya) Dir Dir Tom Dir Dir Tom—Jhaptal (Madhya) Hindustani raga Jeevanpuri resembles Jhilaf of Asavari That closely.

Jeevanpuri—Svara groups म प म and ग रि स are not used. (See Jeevanpuri).

Karnatak

There is no Karnatak raga called Jhilaf. Karnatak raga Natabhairavi has some resemblance to Jhilaf of Asavari That (See Natabhairavi).

JHILAF (Bhairav That)

Hindustani

Jhilaf of Bhairav That has two varietieś— A—Audava-Audava. B—Shadava-Sampoorna.

A—Audava-Audava Variety. In this svaras Ri and Ni are completely left out. Aroha and avaroha of this type are:

स ग म प ध—स—स ध प म प म ग म स.

Svaras used are Tivra Ga, Suddha Ma, and Komal Dh Ending with म स is beautiful. This is a morning raga. Compositions in this type of Jhilaf are :—

Mere Madat Karo—Jhap Tal—(Vilambit). Nama Hi Ke Bala—Jhap Tal—(Madhya).

168 RAGANIDHI

Hindustani raga Devaranjani resembles this type of Jhilaf. (See Devaranjani).

B—Shadava-Sampoorna Type.

In this type svara Ri is omitted in aroha. Its aroha and avaroha are:

नि स ग म प ध सं—नि सं दि प धु प ग म रि स

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Komal Dh and Tivra Ni. Vadi is Dh. This is a morning raga. Hindustani Bhairav resembles this type of Jhilaf closely. (See Bhairav).

Karnatak

There is no Karnatak raga called Jhilaf. Raga Nadanamakriya has some resemblance to the Shadava-Sampoorna type of Jhilaf of Bhairav That. (See Nadanamakriya).

JINGLA

Hindustani

There is no Hindustani raga called Jingla. There is a raga called Jangla or Jangula which nas no resemblance to the Karnatak Jingla (See Jangula).

Karnatak

Jingla is a janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which corresponds to Hindustani Asavari That. Its jati is Sampoorna-Sampoorna with vakra sancharas in aroha. Its aroha and avaroha are :

स रि ग म प ध नि सं—सं नि ध प म ग रि स

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma. Suddha Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

स रि ग स प नि ध प सं—सं नि ध प म ग रि स

Suddha Dh and Kaisiki Ni are the Chaya svaras. Datu (skipping) svara prayogas are a feature of this raga. This is a rare raga. The following composition in raga Jingla is sometimes presented.

Anathudanu ganu Rama Ne—Adi Tala—Tyagaraja.

169 JINJOTI

JINJOTI

Hindustani

Jinjoti belongs to Khamaj That (Harikamboji). Its jati-is Sampoorna-Sampoorna. Aroha and avaroha of Jinjoti are :

नि प धु स रि ग म प ध सं—सं नि ध प म ग रि ग स or स रि ग म न रि स

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma,Tivra Dh, and Komal Ni. Pakad or important anga consists of धु स रि ग स. Vadi is Ga, Samvadi is Ni. It is a very pleasing raga. It has Sringara rasa. It is freely mixed with other ragas for rendering of Thumries. Rendering of this raga in mandra and madhya saptaks is very pleasing. Komal Ga and Tivra Ni are used sparingly for ranjakatva. This raga is sung in the night.

Popular compositions in Jinjoti are :

Mero Mana Lago—Ek Tal (Vilambit).

Prathamakara Bichara—Jhap Tal (Madhya).

Mero Sana Sakhi – Teen Tal (Madhya) – S.A. Ratanjankar,

Karnatak

Raga Jinjoti is derived from the 28th Melakarta Hari-kamboji (ri, gu, ma, dhi, ni) which corresponds to the Hindustani Khamaj That. Jinjoti or Jenjurti is a Sampoorna-Sampoorna raga. It is a Nishadantya raga. Its aroha and avaroha are :

ध स रि ग म प ध नि—नि ध प म ग रि स नि धु प ध स

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatusruti Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

पु स रि ग म प ध नि—नि ध प म ग रि नि प ध स

Jinjoti or Jenjurti of Karnatak has great resemblance to Jinjoti of North. Although Jenjurti is a very popular raga there are not many standard compositions which are popular. There is a rare piece of Dikshitar on Kumara in this raga. The following Tillana is however very popular,

Dhirina Tana Dheem Ta—Adi Tala—Veena Sheshanna.

13

170

RAGANIDHI

JOG (Bilaval That)

Hindustani

There are two types of raga Jog. Type I—belongs to Bilaval That. Type II—belongs to Khamaj That.

Jog of Bilaval That is a Shadava-Sampoorna raga. Svara Ri is omitted in aroha. Aroha and avaroha of this type are :

नि स ग ग म प म ग, प ध नि प सं — स नि ध प,

ध नि प ग म म रि स.

Svaras used are all Suddha svaras of Hindustani sangeeti Vadi is Ga and Samvadi is Ni. This raga is considered to be a mixture of Nand, Bihag, Hamir and Nat ragas. Chalan of this type of Jog is as under :

नि स ग ग म प ग प, ग म रि स. प प सं नि ध

प ध नि प ता प म रि स.

In this raga Tivra Ma is not used although in Nand and Hamir ragas it is used. This type of Jog is not popular. A composition in this type of Jog is,

Bhasma Anga Sheesa—Ek Tal (Madhya).

Karnatak

There is no Karnatak raga called Jog and no Karnatak raga resembles Jog of Bilaval That.

JOG (Khamaj That)

Hindustani

This type of Jog has become very popular during recent years. Raga Jog belonging to Khamaj That is an Audava—Audava raga. Svaras Ri and Dh are omitted in both aroha and avaroha. Aroha and avaroha of this type are:

स ग म प नि सं—सि ध प म ग — म ग — स गु रे स.

Svaras used are both Komal and Tivra Ga, Suddha, both Komal and Tivra Ni. Only Tivra Ga is used in aroha. In avaroha both Tivra Ga and Komal Ga are used. Tivra Ni is used in aroha. In avaroha Komal Ni is used. Pakad or diagnostic svara groups are :

JOGESHWARI

171

स ग म प नि सं—प ड़ नि प ग म ग़ — स गु रे स.

Vadi is Ga and Samvadi is Tara Shadja. In this raga the svara groups सं नि प म ग and स गू ग स with Komal Ga elongated and brought out in meend sound very beautiful at the end. Some think that this type of Jog is Bhimpa!as in aroha and Tilang in avaroha. Some others think that this raga is Hamsa-prahara of the night. Popular compositions in this raga are—

Aj More Ghar Avo Raghava—Jhumra Tal—(Vilambit).

Sajan Mere Ghar Aye—Jhap Tal (Madhya).

Karnatak

There is no Karnatak raga called Jog. Karnatak ragas Nata and Gangatarangini have some resemblance to Jog of Khamaj That.

Raga Nata has the following aroha and avaroha—

स गु रे म प नि सं—स नि प म गु रे स. (See Nata)

Gangatarangini has the following aroha and avaroha—

स गु रे म प सं—स नि प म ग म गु रे स.

(See Gangatarangini).

JOGESHWARI

Hindustani

This is a new raga in which a combination of Jog and Rageshvari ragas are found. Its jati is Audava—Audava. Ri and Pa are omitted. Its aroha agd avaroha are,

स ग म ध नि सं—स नि ध म ग — म गु रे स.

Svaras used are both Komal and Tivra Ga, Suddha Ma, Tivra Dh and Tivra Ni. Aroha of this raga consists of Ragesh-vari. In avaroha chaya of Jog is introduced in the svara group म गु रे स. This raga is at present only popular among instrumenta-lists.

Karnatak

There is no Karnatak raga called Jogeshvari nor one which resembles this Hindustani raga.

172

RAGANIDHI

JOGI or JOGIA

Hindustani

Jogi or Jogia is different from raga Jog. Jogi or Jogia belongs to Bhairav That (Mayamalavagaula). Its jati is Audava–Shadava. In aroha svaras Ga and Ni are not used. In avaroha svara Ga is dropped. Aroha and avaroha of Jogia are—

स · ति · म म · प · धू · स—स नि धू प · ध मड ि स.

Svaras used are Komal Ri, Suddha, Ma, Komal Dha‘and Tivra Ni. Pakad or Gunjan svara groups are प धू · मड ि स. Svara Sa is Vadi and Samvadi is Ma, Sangatis द ि म and प धू म are very appealing. Halt on Ma has a very pleasing effect and is characteristic of Jogia. Svara group म प ध म रि स should be nicely rendered to create the Jogia effect. In this raga Ga is not used. Sometimes a slight touch of Ga is given in avarona, more or less as a grace note or Kan to svara Ri as प धू न ि रि स or Anyway Ga should not be brought to prominence as स म रि स. Andolan or shake should not be given to svara Ri. With an andolan it sounds like Bhairav.

Sometimes Komal Ni is introduced as न ि मड रि स for ranjakatva and it sounds beautiful. Jogia has Soka rasa (pathos). It is sung during early hours of morning. Jogia is a very popular raga. Popular compositions in Jogia are :

Yeri Mai Najanoo - Tilwada (Vilambit)

—S. N. Ratnajankar.

Hari Tuma Bhaktanake Hitakari--Teen Tal (Madhya).

Bhajare Mana Rama Nama--Dadra Tal (Madhya).

Hindustani raga Gunakree is allied to Jogia.

Gunakree–Svara Ni is not used. Svara Ri is not elongated. Komal Ni cannot be used as Ni is omitted. Sangati प न रि is not used. Svara group प धू न ि रि स is used. Ma is not prominent. Meend is given on Ri as in Bhairav (See Gunakree).

Hindustani raga Kshanika has some resemblance to Jogia. Kshanika–Svaras Ga and Pa are not used.

(See Kshanika).

Karnatak

There is no Karnatak raga called Jogi or Jogia. Karnatak

173

JOGIA ASAVARI

raga Saveri, a janya of the 15th Melakarta Mayamalavagaula (Bhairav That) resembles Jogia. Saveri has the following aroha and avaroha—

स रि म प ध स—स नि धू प म ग रि स.

In Saveri svaras Pa and Ga are prominently used. Komal Ni s no t used for even ranjakatva. Svara group प म रि is not used.

(See Saveri).

Karnatak raga Padi resembles very closely Jogia. Its aroha and avaroha are :

स रि म प धू नि स—स नि धू प म रिड स.

(See Padi).

JOGIA ASAVARI

Hindustani

This is also called Jogi Asavari. It is formed by the combination of the two ragas Jogia and Asavari both of which are morning ragas. As the Jogia anga is more in prominence this raga is put under Bhairav That (Mayamalavagaula). Jati of this raga is Audava–Sampoorna. Svaras Ga and Ni are not used in aroha. Aroha and avaroha of Jogia Asavari are :

स रि म प धू स—रि · ति धू · धू प म · म रि स.

Svaras used are both Ri, Komal Ga, Suddha Ma, Komal Dh, and Komal Ni. Tivra Ri is used only in tara saptak in svara groups which form Asavari anga. These Asavari anga groups are, रि · ति धू प and रि · धू न ि रि · स. In Jogia svara Ni is Tivra mostly. Komal Ni is in fact not expeected to be used. In Jogia Asavari only Komal Ni is used. Pakad or Gunjan svara groups are—रि · ति धू · प म ग · म रि स. Vadi is Sa and Samvadi is Pa. In this raga poorvanga is Jogia and uttaranga is Asavari. This raga is sung during the second prahara of the night. A composition in this raga is :

Naino Mat Mar–Ektal (Vilambit).

Karnatak

There is no Karnatak raga called Jogia Asavari and no Karnatak raga resembles Jogia Asavari of Hindustani.

174 RAGANIDHI JOGKAUNS Hindustani

This is a combination of Jog and Malakauns ragas. Its jati is Shadava--Shadava. Ri is omitted in both aroha and avaroha. In this raga both kinds of Ga, Suddha Ma, Komal Dh and two kinds of Ni are used. Komal Ni is only slightly used in a sancharap ṇi ḍha ṇi ḍa ma. Vadi is Ma and Samvadi Sa. It is a night raga. Jog effect is created by the use of both Komal and Tivra Ga. There is Chandrakauṅs effect produced by Tivra Ni in the svara group ma ṇi ḍa. Svara group sa ga ma pa is in the svara group ma ṇi ḍa. Svara group sa ga ma pa is uttered quickly and halt made on Ma. This has a special effect in this raga. Chalan of Jogkauns is as under.

ṇi sa ṃ ma ri ṇi ṇi ṣa ṇi ṣa ga ṇi ṇi sa ṇi ṣa ga ma pa sa ṇa ṇi pa ṃa ṇi ṣa ṇi ṣa pa ṇa ṇi ṣa ṇi pa ṃa ga ma ma ga ṇi ṣa.

This is a new raga. Compositons in this raga are : Ab Piyare Mita Hamare--Ektal (vilambit) Pritama Tu Mohi--Teen tal (Madhya)

There is no raga called Jogkauns nor one which resembles this Hindustani raga.

JUJHAHALI Hindustani

There is no Hindustani raga called Jujhahali. There is no Hindustani equivalent to this Karnatak raga.

Jujhahali is derived from the 13th Melakarta Gayakapriya (ra, gu, ma, dha, na). It is a Shadava-Shadava raga. Svara Ri is omitted in both aroha and avaroha. Aroha and avaroha of Jujhahali are :- sa ṃ1 ga1 ma1 pa ṇi1 ṣa1--ṣa1 ṇi1 ḍa1 pa1 ma1 ga1 sa.

Svaras used are Antara Ga, Suddha Ma, Suddha Dh and

175 JYOTIRAGA

Suddha Ni. According to Hindustani notation the aroha and avaroha are :- sa ma ga pa ḍha ṇi ṣa--ṣa ṇi ḍha pa ma ga sa.

Tivra Dh (ri) stands for Suddha Ni of Karnatak sangeet. In Jujhahali there is vakra sancharain both aroha and avaroha. Suddha Ma and Suddha Dh are the Raga Chaya svaras of Jujhahali. This is a difficult raga. The kriti “Parakujesina” in this raga is not sung with the above mentioned svaras. It is sung with Chatusruti Dh and Kaisiki Ni, instead of Suddha Dh and Suddha Ni. According to svaras used at present Jujhahali should be placed under the Melakarta Harikamboji. Svaras used in aroha and avaroha of Jujhahali are :

A composition in this raga is : Paraku Jesina (Telugu)--Adi Tala--Tyagaraja.

JYOTIRAGA Hindustani

There is no Hindustani raga called Jyotiraga. There is no Hindustani equivalent to this Karnatek raga.

Karnatak

Jyotiraga is the old name for the 68th Melakarta Jyotisvaroopini (ru, gu, mi, dha, ni). Jyotiraga is a janya from (the 68th Melakarta Jyotisvaroopini. Its jati is Sampoorna-Shadava. In avaroha svara Ri is omitted. Aroha and avaroha are :

sa ri3 ga3 ma2 pa ḍha1 ṇi2 ṣa--ṣa ṇi2 ḍha pa ma ga sa.

Svaras used are Shatsruti Ri, Antara Ga, Prati Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

sa ri ga ṃ pa ḍha ṇi ṣa--ṣa ṇi ḍha pa ṃ ga sa.

In the above Komal Ga (ga) represents Shatsruti Ri (ri3) of Karnatak system. Jyotiraga differs from Jyotisvaroopini. In avaroha Jyotiraga omits Ri. A composition in this raga is ;- Paranjyotishmati Parvati (Sanskrit)--Adi Tala --Muttuswamy Dikshitar.

176 RAGANIDHĪ JYOTISVAROOPINI Hindustani There is no Hindustani raga called Jyotisvaroopini and no Hindustani raga corresponds to this Karnatak raga. Karnatak Jyotisvaroopini is Melakarta No 68 (ru, gu, mi dha ni) of Karnatak system. According to Dikshitar school this Melakarta is called Jyotiraga. Aroha and avaroha of this Sampoorna— raga are,

ष ि3 ग3 म2 व ष1 ऩि2 सं—सं ऩि3 ध1 प म2 ग2 िि स. Svaras used are Shatsruti Ri, Antara Ga, Prati Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :

स णु म प धु ऩि सं—सं ऩि धु प म ग ऱु स. Komal (ग्) represents Shatruti Ri of Karnatak system. This is a rare raga but an interesting one on account of the anecdote that Saint Tyagaraja lighted a lamp by singing this raga. This miracle is said to have been performed by him in the court of Raja of Pudukota when he was still a boy of eighteen. This incident is described by Prof P. Sambamoorty in his book “Tyagaraja—Book II” of the series Great Composers. It is strange that there are no kritits of Tyagaraja in this raga. Com- positions in Jyotisvaroopini are, Gana sudha panamu (Telugu)—Chapu Tala Kotiswara Iyer. Shri Gayatrim Bhaktadurita (Sanskrit)— Rupaka Tala Balamurali Krishna.

APPENDIX 177 HAMSADEEPAKAM Hindustani There is no Hindustani raga called Hamsadeepakam nor one which resembles this rare Karnatak raga. Aroha of this raga sounds like Abhogi (see Abhogi). Karnatak This rare raga is a janya of the 23rd Melakarta, Gauri- manohari (ri, gi, ma, dhi, nu). Its jati is Audava-Sampoorna. Pa and Ni are omitted in aroha. Aroha and avaroha are :-

स िि ग, म, ध, ष सं—सं ऩि, ध, प, म, ग, िि स Svaras used are Chatsruti Ri, Sadharana Ga, Suddha Ma, Chatsruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are:-

स िि ग म ध ष—सं ऩि ध प म ग ऱि स A composition in this raga is :- Panchavaktram (Sanskrit)—Adi Tala—Muthiah Bhagavatar.

JAYASAMVARDHINI Hindustani There is no Hindustani raga called Jayasamvardhini, nor one which resembles this rare Karnatak raga. Karnatak Jayasamvardhini is a janya of the 17th Melakarta, Surya- kanta (ra, gu, ma, dhi, nu). Its jati is Shadava- Shadava. Ri is not used in aroha. In avaroha Dh is omitted. Aroha and avaroha are:-

स ग3 म1 व ऩ3 ऩि3 स—सं ऩि3 प म1 ग2 िि स Svaras used are Suddha Ri, Antara Ga, Suddha Ma, Chatsruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are:-

स ग प ध ऩि स—सं ऩि प म ग ऱि स This is a rare raga and is not mentioned in many books on Karnatak sangeet. A composition in this raga is : Pahi Mam Shri Raja (Sanskrit)—Khanda Triputa Tala - Jayachamaraja Wadiyar.

BIBLIOGRAPHY

Vishnu Narayana Bhatkhande—Hindustani Sangeeta Paddhati—

Parts 1 to IV. Hindustani Sangeeta Paddhati Kramik

Pustaka Malika—Parts I to VI.

Tiruvottiyur Tyagayya—Sankirtana Ratnavali.

Veena Kuppa Iyer—Pallavi Svarā Kalpavalli.

V. Venkatagiriappa—Sangitamritasara.

Balamuralikrishna—Janakaraga Kritimanjari.

K.V. Sreenivasa Iyengar—Gana Bhaskaram, Tyagaraja Hridayam

—Vols. I to III.

Subbarama Dikshitar—Sangeeta Sampradaya Pradarshini.

Firoze Framjee—Encyclopedia of Hindustani Sangeet. Sangeeta

Vidya.

P. Sambamurthy—South Indian Music—Parts I to IV. Dictionary

of South Indian Music—Vols. I & II. Great Composers—

Tyagaraja.

Y. K. Subba Rao—Sangeeta Darpana.

V. N. Patwardhan—Raga Vigyan—Parts 1 to VI.

S. N. Ratanjankar—Abhinava Geeta Manjari.

K. Vasudevachar—Shree Vasudeva Keertanamanjari.

Ramakrishna Vaze—Sangeeta Kala Prakash.

S. L. Sapre—Sangeeta Kala Pravesh.

Vasant Rao Rajopadhye—Sangeeta Shastra.

J. D. Patki—Aparichit Ragas—Vol. I to III.

V. Raghavan—The Spiritual Heritage of Tyagaraja.

Journals and Magazines

The Journal of the Music Academy—Madras.

Sangeet—Hathras (U.P).

Sangeet Kala Vihar—(Bombay).

Sangeet Kala (discontinued)—Gwalior.

Kalavant (discontinued)—Wardha.

Lakshya Sangeet (discontinued)—Bombay.

INDEX

D

Daulati .. 1

Deepak (Bilaval That) .. 1

Deepak (Khamaj That) .. 2

Deepak (Poorvi That) .. 4

Deepakamu (See Deepak-Poorvi That) ..

Deepa Kalyan .. 6

Des or Desh .. 6

Desha Gaula (See Desha Goud) ..

Desha Goud .. 7

Deshakshi .. 8

Deshi or Desi Todi .. 9

Deshika Todi .. 11

Deshkar .. 12

Deshi Simharava .. 13

Desh Malhar .. 13

Deshyaganavaridhi .. 15

Devadhaivat .. 15

Devagandhar .. 16

Devagandhari .. 18

Devagandhar Todi .. 19

Devagiri or Devagiri Bilaval .. 20

Devakriya .. 21

Devamanohari .. 22

Devamritavarshini or Nadachintamani .. 23

Devanand or Devanandini \

Devaranjani .. 25

Devaranji or Devaranjini .. 26

Devasakh or Deshakhya or Deshakshi .. 28

Dhalivarali .. 29

Dhanakapi .. 29

Dhanasari or Dhanashree .. 30

Dhani .. 33

180

RAGANIDHI

Dhanya Dhaivat

Dhanyasi or Dhanashree

Dharmavati (Dhamavati)

Dhatuvardhani (Dhautapanchama)

Dhavalambari (Dhavalanga)

Dhavalangi

Dhavalashree

Dheerasankarabharana (Dheerasankarabharana)

Dhenuka (Dhunibhinnashadja)

Dhulia Malhar

Dhurvanki

Dilipaka

Dinki Pooria

Divyamani (Jeevantini)

Durbar

Durbari Kanada

Durga (Bilaval That)

Durga (Khamaj That) or Madhuradhvani

Durga Kalyan

Dvigandhar

Dvigandharabhushini

Dvijavanti or Jeejavanti

E

Ecsamanohari

G

Gamakakriya

Gamanasharama (Gamakakriya)

Gambhiranata (Suddha Nata)

Gambhiravani

Ganamurti (Ganasamavarali)

Ganasamavarali

Ganavaridhi

Gandhari

Gandhari Todi

Ganagatarangini

Gangeyabhushani (Gangatarangini)

Gara

INDEX

181

Gara Bageshree

Gara Kanada

Garudadhvani

Gaula

Gaulipantu or Gaudipantu

Gauri

Gaurimanjari

Gaurimanohari

Gaurishankara

Gaurivelavali

Gavambodhi (Girvani)

Gavati

Gayakapriya (Geyahejjujji)

Geetapriya

Geyahejjujji

Ghanta

Ghoshini

Girija

Girvani

Gopikambodi

Gopikavasant

Gorakh Kalyan

Goud

Goudi

Goud Malhar

Goud Sarang

Gound Giri

Goura Kalyan

Gouranjani

Guharanjini

Gujjari or Ghurjari

Gunakali (Bhairavi That)

Gunakali (Bilaval That)

Gunakree

Gundakriya

Gunji Kanara

Gujari Todi (Gurjari Todi)

182

RAGANIDHI

Hamir or Hamir Kalyan .. 101

Hamir Bahar .. 103

Hamir Nat .. 103

Hamsabhramari .. 104

Hamsadhvani .. 105

Hamsagamani .. 107

Hamsagiri .. 107

Hamsakalyan .. 108

Hamshkankini .. 109

Hamsalata .. 110

Hamsananda .. 111

Hamsanandi .. 111

Hamsamanjari .. 113

Hamsanarayani (Marwa That) .. 113

Hamsanarayani (Poorvi That) .. 114

Hamsanatini .. 115

Hamsashree .. 116

Hamsavinodini .. 117

Hanumatodi .. 118

Haridasapriya .. 119

Harikambhoji (Harikedaragula) .. 120

Harikauns .. 120

Harikedaragaula (See Kedara gaula) .. 121

Harinarayani .. 122

Hatakambari (Jayasuddha Malavi) .. 122

Hejjaji or Hejjuiji .. 123

Hema Kalyan .. 123

Hemambari .. 125

Hemant .. 125

Hemavati (Deshi Simharava) .. 126

Hevitri .. 127

Hijaj or Hijaj Bhairav .. 128

Hindol .. 129

Hindola .. 130

Hindol Bhar .. 132

Hindola Deshika .. 133

Hindola Durbar .. 133

Hindola Vasanta .. 134

INDEX

183

Hindoli or Kaushikadhvani .. 135

Hiudustani Kapi .. 136

Huseni .. 138

Huseni Kanada .. 138

I

Iman (See Kalyan) .. 139

Imani Bilaval (See Yamani Bilaval) .. 139

J

Jaganmohana .. 140

Jaganmohini or Jagamohini .. 140

Jaij Bilaval .. 141

Jait or Jeth .. 142

Jait Kalyan .. 144

Jaladhar Kedar .. 145

Jaladhar Sarang .. 147

Jalarnava (Jaganmohana) .. 147

Janaranjini .. 148

Jangula (Asavari That) .. 149

Jangula (Bhairav That) .. 150

Jaya Bhavani .. 151

Jayajayavanti .. 152

Jayajayavanti Kanada .. 153

Jayakauns .. 153

Jayamanohari .. 154

Jayanarayani .. 155

Jayanth .. 156

Jayantha Kanada .. 156

Jayantha Malhar .. 157

Jayanthasena .. 158

Jayantha Shankara \

Jayanthashree .. 159

Jayaraj .. 159

Jayavanti .. 160

Jeevanpuri .. 162

Jeevantini .. 163

Jetashree .. 164

Jhalavarali (Dhalivarali) .. 165

184

RAGANIDHI

Jhankaradhvani (Jhankarabhramari) .. 166

Jhilaf (Asavari That) .. 167

Jhilaf (Bhairav That) .. 167

Jingla .. 168

Jinjoti .. 169

Jog (Bilaval That) .. 170

Jog (Khamaj That) .. 170

Jogeshvari .. 171

Jogi or Jogia .. 172

Jogia Asavari .. 173

Jogkauns .. 174

Jujhahali .. 174

Jyotiraga .. 175

Jyotisvaroopini (Jyotiraga) .. 176

Appendix

H

J

Hamsadeepakm .. 177

Jayasamvardhini .. 177

ERRATA

Page Line Printed Read

4 5 स गुमंप धु नि सं. सम गंमं प धु नि सं.

14 24 म प ध प नि संड म प ध नि संड

17 1 नि श्य प धु. नि श्य प धु

19 16 both varieties of Dh and Ni are used both varieties of Dh and Ni are used

63 4 Baruva Maruva Baruva Manuva

74 7 (See Gauripantu). (See Gaulipantu).

83 5 घु घ धु₁. घ ध धू.

87 14 groud. group.

100 15 स धें नि स ध नि.

101 1 नि सं—स • नि सं नि स—ह ग—म धु सं—म सं नि सं—स • नि सं ……..हि हि स. रि रि स.

111 4 Chatusruti Shatsruti

118 23 म गृ रि स. म ग रि स.

124 33 स रि ग म. स ग रि ग म.

128 3 रि ग (म) रि ग स. रि ग (म) रि स स.

128 11 छ रि म प ध सं. स रि म प ध सं.

129 9 desirved. derived.

137 7 avalis Javalīs.

167 4 नि. स ग. नि. स गु.

167 15 ग प ध. ग़ प ध.