1. Raga Nidhi A Comparative Study of Hindustani & Karnatik Ragas Subba Rao B. Vol 3

RAGANIDHI

A COMPARATIVE STUDY OF

HINDUSTANI AND KARNATAK RAGAS

B. SUBBA RAO

VOLUME THREE

Aided by the Sangeet Natak Akademi

New Delhi

PUBLISHED BY

THE MUSIC ACADEMY, MADRAS

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

1st Impression—1965

All rights reserved

by The Music Academy, Mowbray's Road, Madras.

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WHO GAVE ME

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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".

THE MADRAS MUSIC ACADEMY CONFERENCE 1963

The Author of Raganidhi demonstrating Karnatak and Hindustani Ragas

AUTHOR'S NOTE

I feel flattered and am grateful fo connoisseurs of Music in India and abroad for their appreciation of Volume Two (D to J) of Raganidhi which was published last year by the Music Academy Madras. I am thankful to Journals and News papers which have reviewed the book and recommended it to their readers.

I feel happy that the Music Academy will be releasing Volume Three of the Raganidhi during February 1965. I hope it will have the same reception from lovers of Music as Volume I and volume II.

I realise the necessity of the early publication of Volume Four (O to Z) and the revised edition of Volume One (A to C). Myself and the Printers are making our best efforts to expedite their publication.

I am thankful to Dr. V. Raghavan, M.A. PhD., Honorary Secretary Music Academy, Madras for the special interest he has been taking in the publication of the Raganidhi

I am grateful to the Sangeet Natak Akademy, New Delhi for having given a grant to the Music Academy Madras towards the cost of publishing this work.

" Shreenivasam "

1297, IV Cross Road,

Krishnamurthipuram, Mysore-4.

B. Subba Rao

PUBLISHER'S NOTE

Volume Two of the valuable thesaurus of Ragas of Hindustani and Karnatak music compiled by Sri. B. Subba Rao was published and released during the 37th Annual Conference of the Music Academy, Madras, in 1963. The plan of this work and the whole scheme relating to its publication have been explained in the Publisher's Note in that Volume.

Volume Three was ready for release during the 38th Conference in 1964 but as there was a proposal to hold under the joint auspices of the Music Academy, Madras and the Sangeet Natak Akademy, Delhi a Hindustani Karnatak Seminar sometime early in 1965, it was considered that it would be appropriate to release the Volume at that Seminar. As, unfortunately owing to unavoidable causes, that Seminar had to be postponed, the Music Academy has now arranged to publish Volume Three of the Raganidhi without any more delay.

This volume, which is somewhat larger than the previous, deals with the Ragas under the alphabets K-P. The method of exposition followed in the previous volume is adhered to in this volume also.

It is hoped that by the end of the year we will be able to issue the fourth volume also and take up the revised publication of the first volume.

Music Academy,

Madras-14.

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.

ति ुु प म धुु नि (A dot below each svara).

Madhy Saptak Svaras.

स रि ग म प ध नि (No dot).

Tara Saptak Svaras.

ं रिं गिं मिं पिं धिं निं (A dot above each svara).

Hindustani Komal stands for European Flat or Karnatak Taggu. Sign used is a slant stroke below the svara as ि ति िुु ि.

Hindustani Tivra stands for European Sharp or Karnatak Hetchu. There is no stroke or any other sign.

Suddha or Komal Ma of Hindustani-No sign (Plain)-अ,

Prati or Tivra Ma of Hindustani-Vertical stroke on top of the note-ं.

Three varieties of Rishabha, Gandhara, Dhaivata and Nishada and two varieties of Madhyama according to Karnatak Ri1-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 ा

ग - रि - नि

Elongation of svaras indicated by a S as in म s रि s ग s.

Meend-Indicated by a curved line above the svaras included in the meend, स म रि-ग पि 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, each - the lower pitched and the higher pitched. In Hindu-stani 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 Westren Music for the same purpose. In Karnatak however these Taggu and Hetchu svaras hava other names as well There are therefore twelve notes or svaras (2 × 5+2=12) in an octave. One thing to be rcmembered is that in Bharatiya Sangeet the Shadja Sa which is taken to be the Base Note or Adhara Sruti 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 whice 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 रि गू धू नी. The vertical bar for Tivra or Prati Ma is used above the svarā as मा′. Sa and Pa have no signs. Hence the twelve notes in Hindustani are represented by :-

स रि रि ग म म प धू नी नि.

In Karnatak the signs given for these are :

स - रि1 - रि2 - ग2 - ग3 - म1 - म2 - प - ध1 - ध2 - नि2 - नि5.

In the above ग1 and ध1 are not found but contrary to expectation ग3 and नि3 are found. It happens to be like this. In Karnatak, रि2 (Tivra Ri-रि) goes up to the pitch or position of ग2 (Komal Ga-ग) and becomes रि3 Db2 (Tivra Dh-ध) goes up to Ni2 (Komal Ni-नि) and becomes Dh3. Similarly Ga2 (Komal Ga-ग) comes down to pitch of रि1 (Tivra Ri-रि) and becomes ग1 and Ni2 (Komal Ni-नि) comes down to the pitch of Dh2 (Tivra Dh-ध) and becomes नि1.

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 (रि) and utter it as Ga (Ga1 or Suddha Ga) is a probleu. The svara group स रि1 ग1 ग2 of South in which Suddha Ga occurs will only be rendered by the Hindustani musicians as स रि रि ग. Similarly स रि2 ग2 ग would be स रि ग ग म.

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 :

स - रि - रि - म - प - ध - नि (Tivra)-(Tivra)-(Komal) (Tivra)-(Tivra).

According to Karnatak, the notation for equivalent notes are :

स - रि2 - ग3 - म1 - प - ध2 - नि3.

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

स - रि1 - ग1 - म1 - प - ध1 - नि1. (ra)-(ga)-(ma) (dha)-(na).

According to Hindustani, the notation for equivalent notes are :

स - रि - रि - म - प - ध - नि.

Ten Thats of Hindustani Sangeet and the ten corresponding Karnatak Melakartas

Serial No.Hindustani ThatSvaras usedCorresponding Karnatak MelakartaM. K. in the Melakarta SchemeSvaras used

1.Kalyan or Yamanस ri ग म प ध निMechakalyani65.स ri2 ग2 म2 प ध2 नि3

2.Bilavalस ri ग म प ध निDheerasankarabharana29.स ri2 ग2 म1 प ध2 नि3

3.Khamajस ri ग म प ध निHarikambhoji28.स ri3 ग3 म1 प ध2 नि2

4.Bhairavस ri न म प ध निMayamalavagaula15.स ri1 ग1 म1 प ध1 नि3

5.Poorviस ri न म प ध निKamavardhani51.स ri1 ग3 म2 प ध1 नि3

6.Marwaस ri न म प ध निGamanashrama53.स ri1 ग3 म2 प ध2 नि3

7.Kafiस ri न म प ध निKharaharapriya22.स ri2 ग2 म1 प ध2 नि2

8.Asavariस ri न म प ध निNatabhairavi20.स ri2 ग2 म1 प ध1 नि2

9.Todiस ri न म प ध निSubhapantuvarali45.स ri1 ग2 म2 प ध1 नि3

10.Bhairaviस ri न म प ध निHanumatodi8.स ri1 ग2 म1 प ध1 नि2

Varieties of Svaras used in Hindustani and Karnatak Systems (Twelve svaras of Hindustani and sixteen of Karnatak)

NoSvarasHindustaniKarnatakFixed svaras, Four extra Svaras of Karnatak

Name of varietySignName of VarietySigns

1.ShadjaShadjaसShadjaसSaAdhara Shruti- (Basc Note).

2.Rishabha (Rikhab)-do-(do)Komal RiरिSuddha Rishabhaरि1raNo variation.

3.-do-Tivra or Suddha RiरChatusruti Rishabhaरि2riThis becomes also Suddha Ga of South-Ga1 or ga.

4.GandharaKomal GaगSadharana Gandharaग2giThis becomes also Shatsru-ti Ri of South-Ri3 or ru.

5.-do-Tivra or Suddha GaगAnantara Gandharaग1guNo Variation.

6.MadhyamaKomal or Suddha MaमSuddhia MadhyamaमmaNo Variation.

7.-do-Prati or Tivra MaमPrati Madhyamaम1miNo Variation.

8.PanchamaPanchamaपPanchamaपPaNo Variation.

9.DhaivataKomal DhधSuddhia DhaivataधdhaNo Variation.

10.-do-Tivra or Suddha DhधChatusruti Dhaivataध1dhiThis becomes also Suddha Ni of South-Ni1-na.

11.Nisbada (Nikhad)Komal NiनिKaisiki Nishadaनि2niThis becomes also Shat-sruti Dh of South-Dh3 or dhu.

12.-do-Tivra or Suddha NiनिKakali Niनि1nuNo Variation.

Chakra|No.K.M|Suddha Madhyama-Ma₁-ma|Svarasused|Prati Madhyama-Ma₂-mi|No.K.M|Chakra

||PresentName|OldName|PresentName|OldName||

IIndu|1.2.3.|KanakangiRatnangiGanamurti|KanakambariPhenadhyutiGanasamavarali|ra-ga-dha-nara-ga-dha-nira-ga-dha-nu|SalagamJalarnavamJhalavarali|ScugandhiniJagannohanaDhalivarali|37.38.39.|VII

|4.5.6.|VanaspatiManavatiTanarupi|BhanumatiManoranjaniTanukirti|ra-ga-dhi-nira-ga-dhi-nura-ga-dhu-nu|NavanitamPavaniRaghupriya|NabhomaniKumbhiniRavikriya|40.41.42.|Rishi

IINetra|7.8.9.|SenavatiHanumatodiDhenuka|SenagraniJanatodiDhunniBhinna-shadja|ra-gi-dha-nara-gi-dha-nira-gi-dha-nu|GavambodhiBhavapriyaSubhapantuvarali|GirvaniBhavaniSlivapantu-varali|43.44.45.|VIII

|10.11.12.|NatakapriyaKokilapriyaRupavati|NatabharanaKokilaravaRupavali|ra-gi-dhi-nira-gi-dhi-nura-gi-dhu-nu|ShadvidhamarginiSuvarnangiDivyamani|SthavarajSouveeraJeevantini|46.47.48.|Vasu

III|13.14.15.16.|GayakapriyaVakulabharanaMayamalava-gaulaChakravaka|SeyahejjujjiDhatiVasanthaBhairaviMayamalava-gaulaToyavega-vahini|ra-gu-dha-nara-gu-dha-nira-gu-dha-nura-gu-dbi-ni|DhavalambariNamanarayaniKamavardhiniRamapriya|DhavalangaNamadeshiKashirama-kriyaRama-manohari|49.50.51.52.|IX

Agni|17.18.|SuryakantaHatakamabari|ChayavatiJayasuddhaMalavi|ra-gu-dhi-nura-gu-dhu-nu||GamanasramaVishvambhari|GamakapriyaVamshavali|53.54.||Brahmā

IV|19.20.21.|Jhankara-dhvaniNatabhairaviKiravani|Jhankara-bbramariNariritigaulaKiranavali|ri-gi-dha-nari-gi-dha-ni|SyamalangiShanmukhapriyaSimhendra-madhyamana|SyamalaChamaraSumadyuti|55.56.57.|X

Veda|22.23.24.|KharaharapriyaGaurimanohariVarunapriya|ShriragaGaurivelavaliVeeravasanta|ri-gi-dhi-niri-gi-dhi-nu|HemavatiDharmavatiNitimati|Deshisimha-ravaDhamavatiNishada|58.59.60.|Desi

Chakra

No.

Suddha Madhyama—Ma₁—mu

Svaras used

Prati Madhyama—Ma₂—mj

No.

Chakra

Present Name

Old Name

Present Name

Old Name

Mararanjani

Sharavati

ri-gu-dha-na

Kantamani

Kunthala

XI

Charukesi

Tarangini

ri-gu-dha-ni

Rishabhapriya

Ratipriya

Rudra

Sarasangi

Sourasena

ri-gu-dha-nu

Latangi

Geetapriya

Harikambhoji

Harikedaragaula

ri-gu-dhi-ni

Vacnaspathi

Bhushavati

Dheerasankarabharana

Dheerasankarabharana

ri-gu-dhi-nu

Mechakalyani

Shantakalyani

Naganandini

Nagabharana

ri-gu-dhu-nu

Chitrambari

Chaturangini

Yagapriya

Kalavati

ru-gu-dha-na

Sucharitra

Santanamanjari

XII

Ragavardhini

Ragachudamani

ru-gu-dha-ni

Jotisvarupini

Jotiragam

Aditya

Gangeyabhushini

Gangatarangini

ru-gu-dha-nu

Dhatuvardhani

Dhautapanchama

Vagadhisvari

Bhogachayanata

ru-gu-dhi-ni

Nasikabhushani

Nasamani

Sulini

Sailadeshakshi

ru-gu-dhi-nu

Kosalam

Kusumakara

Chalanata

Chalanata

ru-gu-dhu-nu

Rasikapriya

Rasamanjari

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) Db₁ (K) Dh₂ (K) Ni₂ (K) Ni₃ (K) Sa (K)

ṣ (H) ṛ (H) ṛ (H) g (H) g (H) m (H) m (H) p (H) d (H) d (H) n (H) n (H) ṣ (H)

Ri₂ (K)

Ga₁ (K)

Dh₃ (K)

Ni₁ (K)

CONTENTS

Author's Note

..

v

Publisher's Note

..

vi

Signs and abbreviations used

..

vii

Nomenclature of svaras (notes)

..

viii

Ten Thats of Hindustani

..

x

Seventy two Melakartas of Karnatak

..

xii

Ragas (K to P)

..

1 to 251

Bibliography

..

252

Index

..

253

Errata

..

261

KATANAKUTUHALAM

Hindustani

There is no Hindustani raga called Katanakutuhalam,

nor one which resembles this Karnatak raga.

Karnatak

Katanakutubala is not an ancient raga. It was invented by

Patnam Subrahmanya Iyer as an improvement over the raga

Kutuhala which he had learnt from his guru. Katanakutuhala

is only a century old raga. It is derived from the 29th Melakarta

Dheerasankararabharana (ri, gu, ma, dhi, nu) which corresponds

to Hindustani Bilaval That. Its jati is Sampoorna–Sampoorna.

Its aroha and avaroha are,

सा रि₂ म₁ प ध₂ स॓—स॓ नि₃ ध₂ प म₁ ग₃ रि₂ स.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma,

Chatusruti Dha and Kakali Ni. In aroha there is a vakra

sanchara पा न ध and elongation of Dha in ग रि स ri. These are

beautiful features of this raga, and give it a Western tinge. On

instruments like veena and violin this raga offers great possi-

bilities to create special effects which are very pleasing.

According to Hindustani notation the aroha and avaroha

are :–

सा रे ग म ध्‌नी सा—सा नि ध म प रे सा.

There are not many popular compositions in Katanakutuha-

lam. The following kriti by the inventor of the raga has immor-

talised the raga and is a very popular one. It is a composition

which is very well suited for orchestral presentation. The

chittesvara in this kriti is very pleasing. It is said that the

chittesvara was contributed by some other composer.

Raghuvamsa Sudhambudhi Chandra-Adi Tala—

Patnam Subrahmanya Iyer.

There is a Karnatak raga called Kutuhala which is also a

janya of the 22nd Melakarta Dheerasankararabharana. It resem-

2

RAGANIDHI

bles Katanakutuhala. Its aroha and avaroha are :-

स ri म ni s ध प ni s—सं ri ध प म ग ri s.

(See Kutuhala.)

KAFI

Hindustani

Kafi is a very popular raga. It belongs to Kafi That (Kharahrapriya). Its jati is Sampoorna–Sampoorna. The aroha and avaroha are :-

स ri ग़ - म - प ध नि s—सं ri ष़ - प म ग़ - ri - s.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh and Komal Ni. Pakad or Gunjan Svara groups are:- स ri ग म प s, or स ri - s ri - ग़ s—ri ग़ म - प s. Jod or double svaras स ri - ri - ग़ ri - ग़ म - प s—are pleasing in this raga.

Vadi is Pa and Samvadi Sa. Some suggest Ga and Ni as Vadi and Samvadi. In this raga ri in Poorvanga and ध s in uttaranga should be used frequently. Ending of alaps with ri ग़ म ri is graceful. Beauty of this raga rests on the svaras ri, ग़ and ध. For ranjakatva Tivra Ri, Tivra Ni and Komal Dh are used as in the sancharas ri म प ri s ध—ri-म प नि s—म प ri ध s ri.

Pure Kafi is rarely sung at present. What is catered as Kafi contains touches of Sindhura which resembles Kafi closely. Kafi is mostly chosen for rendering Thumries, Bhajans, Hori, Tappa, etc. There are also some Dhrupads in Kafi.

This raga is very pleasing. It is an evening and night raga. Popular compositions in Kafi are :

Aaj Khele Shyam Sanga Hori—Trital (Madhya)

—Shankarao Vyas.

Khelata Nandakumar—Deepchandi Tal.

Hindustani raga Sindhura resembles Kafi. Sindhura–Ga and Ni are not used in aroha. Only Komal Ni is used. (See Sindhura).

Karnatak

There is a Karnatak raga called Hindustani Kapi which resembles the Hindustani raga Kafi in many details. It is a mixture of Hindustani ragas Kafi and Piloo.

KAFI JILHA

Hindustani

This raga is a pleasing mixture of the two ragas Kafi and Jilha. It is also called Jilha Kafi. Jilha Kafi belongs to Kafi That (Kharaharapriya). Svaras used in Jilha Kafi are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, both Komal and Tivra Ni. Chalan or trend of Kafi Jilha is under :

स ri ग म स—म प ध—प ri—ग़ रे s ri s नि. स ri प—ग़ म प—ग़ म ri स—ग़ ri ध ri s—प ri—ध ri प—नि—ध प—म ri—ग़ ri s—प ri—ध ri प—नि—ध प—म ग ri—ग़ ri s—प ri—ग़ म प—म ग ri s—ग़ ri ध ri s—ग़ ri प—नि—ध प—नि s.

A composition in this raga is :

Jamuna ke Teer Kanhayya—Trital (Madhya)

—S. N. Ratanjankar.

Hindustani raga Gara resembles Kafi Jilha (See Gara).

Karnatak

There is no Karnatak raga called Kafi Jilha. Raga Dhanakapi of South resembles Jilha Kafi or Kafi Jilha of North.

(See Dhanakapi).

KAFI KANADA

Hindustani

Kafi Kanada belongs to Kafi That (Kharaharapriya). Its jati is Sampoorna–Sampoorna. Aroha and avaroha of Kafi Kanada are :

नि ri स—ri ग़ ri—म ri—नि ध ri—म ri—s—सं ri ग़ ri—नि प—म प—ग़ ri s.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh and Komal Ni. Vadi is Pa and Samvadi Sa. This raga is sung during second prahara of night. In this raga angas of Kafi and Kanada are :- Kafi anga:- ri स—ri ग़ ri—नि ध ri—नि प—म प—ग़ ri s. Kanada anga:- ri स—ri ग़ ri—नि ध ri—नि प.

This is a very pleasing raga. Compositions in Kafi Kanada are :

4

RAGANIDHI

Balama Tore Chala Bala-Ek Tal (Vilambit)

–S. N. Ratanjankar.

Barakha Ritu-Tri Tal (Madhya)–Chidanand Nagarkar.

Sukha kar Ayec-Teen Tal (Vilambit).

Karnatak

There is no Karnatak raga called Kafi Kanada. A raga called Karnatak Kapi resembles the Hindustani raga Kafi Kanada in many sancharas. Aroha and avaroha of Karnatak Kapi are :

स रि ग म - प ध नि सं–स नि ध म ग रि स.

(See Karnatak Kapi.)

KAIKAVASHI

Hindustani

There is no Hindustani raga called Kaikavashi. This is an interesting raga. It is suited for being absorbed into Hindustani Sangeet. Aroha and avaroha of Kaikavashi according to Hindustani notation are :

स रि ग म प नि ध–स नि प म ग रि स.

There is a touch of Mia Malhar in aroha and of Madhuvanti in avaroha.

Karnatak

Kaikavashi is a janya of the 60th Melakarta Neetimati (ri, gi, mi, dhu, nu). It is a Sampoorna–Shadava raga. Dh is omitted in avaroha. Its aroha and avaroha are :

स रि2 ग2 म1 प ध2 नि3 सं–सं नि3 प म2 ग2 रि2 स.

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

स रि ग म प नि सं–स नि प म ग रि स.

In the above Komal Ni (नि) represents Shatsruti Dh (ध).

of South. Kaikavashi is not a popular raga. A composition in this raga is :

Vachama gochara me manasa (Telugu)–Adi Tala

–Tyagaraja.

5

KALAGADA

KAISHIKA RANJINI

Hindustani

This is a rare raga. Kaishika Ranjini belongs to Karnatak Melakarta Kiravani. Its jati is Shadava–Shadava. Pa is dropped completely. Aroha and avaroha of Kaishika Ranjini are :

स रि ग म ध नि सं–स नि ध म ग रि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Komal Dh and Tivra Ni. If Tivra Ri is added to the present day Chandrakkauns in both aroha and avaroha the resulting raga will be Kaishika Ranjini. This raga is being popularised by Pandit Chidanand Nagarkar of Bombay. Compositions in this raga are :

Yeri Mayee Piyaa –Ek Tal (Vilambit)–Chidanand

Nagarkar.

Barakata Ritu–Trital (Madhya)–Chidanand Nagarkar.

Karnatak

There is no Karnatak raga called Kaishika Ranjini. No Karnatak raga has the same aroha and avaroha svaras of this Hindustani raga.

KALAGADA

Hindustani

There is no Hindustani raga called Kalagada. There is a raga called Kalingada which has no resemblance to Karnatak raga Kalagada. There is no Hindustani raga which resembles or is allied to Kalagada.

Karnatak

Kalagada is a janya of the 13th Melakarta Gayakapriya (ra, gu, ma, dha, na). Its jati is Shadava–Sampoorna. Ma is not used in aroha. Aroha and avaroha of Kalagada are :

स रि1 ग1 प ध1 नि1 सं–सं ध1 प म1 ग1 रि1 स.

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

6

RAGANIDHI

सा िगा प िध प िसं—से िध प म िन िस.

Tivra Dh ( ) represents Suddha Ni ( ) of Karnatak.

Kalagada is not a popular raga. The following compositions are available :

Samayāmu Yemarake (Telugu)—Adi Tala—Tyagaraja,

Parvati Ninnu (Telugu)—Roopaka Tala—Syama Sastry.

KALAKANTI

Hindustani

There is no Hindustani raga called Kalakanti, nor one which resembles this Karnatak raga.

Karnatak

Kalakanti is a janya of the 13th Melakarta Gayakapriya (ra, gu, ma, dha, na). Its jati is Shadava-Shadava. Pa and Ma are omitted in aroha and avaroha respectively. Aroha and avaroha of Kalakanti are :

सा िरि2 गा1 म1 िध1 िसं— िसं िन1 िध1 प िन2 िस.

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

सा िरि ग म िध िसं— िसं िध प म िरि िस.

Tivra Dh ( ) represents Suddha Ni ( ) of Karnatak.

Kalakanti is a rare raga. The following composition is available :

Shree Janaka Tanaye (Sanskrit)—Adi Tala—Tyagaraja.

KALANIDHI

Hindustani

There is no Hindustani raga called Kalanidhi. Hindustani raga Kafi has some resemblance to Kalanidhi of South.

(See Kafi).

Karnatak

Kalanidhi is a janya of the 22nd Melakarta Kharahara-priya (ri, gi, ma, dhi, ni) which corresponds to Kafi That. Its

7

KALAVATI

jati is Sampoorna-Sampoorna with vakra sancharas in aroha. Aroha and avaroha of Kalanidhi are :

सा िरि2 गा3 म1 प म1 िध2 िन2 िसं— िसं िन2 िध2 प म1 गा2 िरि2 िस.

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

Aroha and avaroha of Kalanidhi according to Hindustani notation are :

सा िरि म प म िध िसं— िसं िध प म िरि िस.

Svara group is pleasing. Andolan on Ga is prominent. Kalanidhi is not a popular raga. The following composition is sometimes heard :

Chinna Nade Na Chaibattitivi (Telugu)—Adi Tala—Tyagaraja.

KALAVATI

Hindustani

Kalavati is also called Kalavati Kalyan. But it belongs to Khamaj That (Harikambhoji). Its jati is Audava-Audava. Ri and Ma are omitted in both aroha and avaroha. Aroha and avaroha of Kalavati are :

सं सं सं

सा िप िध . िन2 िस . िध िसं— िसं िन2 िस िध प—

सं सं सं

सा िप िध . िध प . िन िप िध . प िन2 िस .

Svaras used are Tivra Ga, Tivra Dh and Komal Ni.

Pakad or Gunjan svara groups are :

सं सं

िन िप िध िसं . िध प . िन िप िध . प िन2 िस .

Ni is weak or durbal in Aroha. Here is used. Vadi is Pa and Samvadi Sa. Kalavati is sung before midnight. Meend

िन2 िस and andolan on Ni as are very pleasing.

This raga has an individuality of its own. It is becoming popular although it is a recent introduction. Compositions in this raga are :

Sakhi Mane—Jhap Tal (Madhya)—J. D. Patki

Bolana Lage Koyaliya—Trital (Madhya)—J. D. Patki.

Karnatak

Kalavati is the old name for the 31st Melakarta Yagapriya.

Karnatak raga Kalavati is a janya of the 16th Melakarta

Chakravaka (ra, gu, ma, dhi, ni). Its jati is Audava-Shadava.

Ga and Ni are omitted in aroha and in avaroha Ni is dropped.

Aroha and avaroha of Kalavati are :

स र1 म1 प ध2 स–स ध2 प म1 म2 र1 स.

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

Chatushruti Dha. There is Vakrasanchara in avaroha.

Suddha Ri, Antara Ga, and Suddha Ma are the raga Chaya svaras.

According to Hindustani notation, aroha and avaroha are :

स रि म प ध स–स ध प म ग रि स.

Karnatak raga Kalavati is entirely different from the

Hindustani Kalavati. It resembles Hindustani raga Hevitri

which has got the following aroha and avaroha :

स रि म प ध स–स धि प म ग रि ग (म) – रि स.

(See Hevitri)

Karnatak raga Kalavati is a pleasant one and deserves to

be popularised. The following composition is available :

Ennanadu Chootumu—(Telugu)—Adi Tala—Tyagaraja.

Karnatak raga Malayamaruta which is a janya of the 16th

Melakarta (Chakravaka) resembles to some extent Hindustani

Kalavati. Aroha and avaroha of Malayamaruta are :

स रि2 म1 प ध1 नि3 ध2 स–स नि3 ध1 प म1 रि2 स.

If Ri is omitted completely in Malayamaruta the resulting

raga will be like Hindustani Kalavati. (See Malayamaruta).

According to Diksitar school Kalavati is a Sampoorna-

Sampoorna raga, with vakra sanchara in aroha and avaroha. It

belongs to 31st Melakarta Yagapriya (ru, gu, ma, dha, na). Its

aroha and avaroha are :

स रि3 म1 प ध1 नि1 ध2 स–स नि1 ध1 प म1 रि3 स.

According Hindustani notation they are :

स ग म प धू ध प स–स व ध प म ग म ग स.

A composition in this type of Kalavati is :

Kalavati Kamalasana Yuvati (Sanskrit)—Adi Tala

—Muttuswamy Diksitar.

KALINGADA

Hindustani

Kalingada belongs to Bhairav That (Mayamalavagaula).

Its jati is Sampoorna-Sampoorna. Aroha and avaroha of

Kalingada are :

सु रि ग म – प धु नि स–स नि धु प – म ग रि स.

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Komal

Dha, and Tivra Ni. Pakad or Gunj an svara groups are :

धु प – म ग म – नि स नि – म प धु प

Vadi is Dha and Samvadi is Ga. Regarding Vadi and

Samvadi svaras of this raga, there is difference of opinion.

Pa and Ma are suggested for Vadi. This raga is sung during the

last prahara of night.

Kalingada resembles Bhairav very closely. But in Kalingada

these is no andolan on Ri and Dha. Komal Ni is not even touched.

(In Bhairav this is allowed although very sparingly). Beauty of

this raga lies in svaras Ma, Pa and Dha. Rendering or Gati of

Kalingada is in Madhya and Tara saptaks. Some think that Ma

should be Vadi and prominently brought out as in the follow-

ing sanchara :

नि – स रि ग म – ग म प धु प म – रि म ग रि स धु प म

रि म – ग म प म.

Kalingada is considered to be Kshudra raga fit for light

music like Dhoon, Thoomrics etc. Compositions in Kalingada

are :

Kouma Khele Tumase—Deopchandi Tal (Vilambit).

Gagariya Le Mai Kaise—Trital (Madhya).

Hindustani Bhairav resembles Kalingada very closely.

Bhairav—Ri is Vadi. There is andolan on Ri and Dh.

Komal Ni is very sparingly used. Sanchara is in Madhya and

Mandra saptaks. Gati is Gambhira. (See Bhairav)

Karnatak

There is no Karnatak raga called Kalingada. There are

10

RAGANIDHI

ragas called Kalthada, Kalakada and Kalagada all of which are janyas of the 13th Melakarta Gayakapriya. They have no resemblance to Hindustani Kalingada. Raga Mayamalavagaula which corresponds to Hindustani Bhairav has great resemblance to Hindustani Kalingada. Aroha and avaroha of Mayamalava gaula are:

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

(See Mayamalavagula)

Karnatak ragas Nadanamakriya and Paraju also possess some resemblance to Kalingada of Hindustani. (See Nadanamakriya and Paraju).

KALYAN or KALYANI

Hindustani

Raga Kalyan is also called Iman, Eman or Yaman. Kalyan or Yaman is a very pleasing raga. It belongs to Kalyan That (Mechakalyani). Its jati is sampoorna-Sampoorna. Aroha and avaroha of Kalyan are:

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

Svaras used are all Tivra svaras. Pakad or Diagnostic svara groups are :

नि रि ग - स - प म प - ध - प रि स. Vadi is Ga. Samvadi is Ni. This raga is sung during the first prahara of night. Although the aroha is Sampoorna while taking Tanas Sa and Pa are omitted giving it only an Audava sanchara as नि रि ग म प नि सं. In aroha svara groups नि रि ग and म प ध नि leaving out Sa and Pa are used frequently. It sounds beautiful. In avaroha svara group प ध रि स. is used leaving out Ga. This is a night raga. Yaman or Kalyan is a very popular raga. There are a number of compositions in this raga. The following are very popular.

Yeree Ali Piya Bina--Tcen Tal (Madhya)

Bhaja Hari Nama Tu. Tri Tal (Vilambit)

Allied Hindustani ragas are Yaman Kalyan and Chandrakanth.

11

KALYANA VASANTIJA

Yaman Kalyan--Komal Ma or Suddha Ma is used occasionally in particular way. (See Yaman Kalyan).

Chandrakanth--In aroha Ma is omitted. (See Chandrakanth).

Hindustani raga Kalyan or Yaman has great resemblance to Karnatak raga Kalyani.

Karnatak

Kalyani is a very popular raga. It has great resemblance to Kalyan or Yaman of Hindustani sangeet.

Kalyani called Mechakalyani for purposes of "Katapayadi Sankhya " calculations, is the 65th Melakarta (ri, gu, mi, dhi, nu). This corresponds to Kalyan That of Hindustani sangeet. Kalyani is the scale which is obtained by the Shadja-Panchama process of modal shift or Sruti Bheda. This is the Gandhara Moorchana of the ancient Shadja Grama and the first Prati Madhayama raga which came to the notice of man. It is one of the major ragas giving plenty of scope for alapana and elaboration.

Raga Kalyani is of Sampoorna-Sampoorna jati. Aroha and avaroha of Kalyani are:

स रि2 म1 म2 प ध2 नि3 सं—सं नि3 ध2 प म2 म1 ग2 रि2 स

Svaras used are Chatsruti Ri, Antara Ga, Prati Ma, Chatsruti Dh, and Kakali Ni.

According to Hindustani notation the aroha and avoroha are:

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

The above aroha and avaroha are identical with those of Hindustani raga Kalyan or Yaman.

There are a large number of compositions in raga Kalyani. A few of the well known ones are :

Nidhi chala Sukhama (Telugu)--Chapú Tala--Tyagaraja

Nija Dasa Varada (Sanskrit)--Adi Tala--Patnam

Subrahmanya Iyer.

KALYANA VASANTHA

Hindustani

There is no Hindustani raga called Kalyana Vasantha.

12

RAGANIDHI

Aroha of Hindustani rāga Chandakauns resembles that of Kalyana Vasantha of South. But the avarohaṣ are entirely different. Avaroha in Kalyana Vasantha resembles that of Kiravani which is becoming popular in the North. Kalyana Vasantha may be considered to be a combination of Chandra kauns and Kiravani in aroha and avaroha respectively as under :

स ग म प नि सं—स नि ध प म ग ri स.

Kalyana Vasantha is derived from the 21st Melakarta Kiravani (ri, gu, ma, dhi, nu). Its jati is Audava–Sampoorna. In aroha Ri and Pa are not used. Aroha and avaroha of Kalyana vasantha are :

स ग2 म1 ध1 नि3 सं—स नि3 ध1 प म1 ग2 ri स.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Dha, and Kakali Ni.

According to Hindustani notation the aroha and avaroha are :

स ग म ध नि सं—स नि ध प म ग ri स-

Sadharana Ga and Chatusruti Ri are the Raga Chaya svaras. Kalyana Vasantha is not a popular raga. The following compositions in this raga are available.

Nadalo Lundai (Telugu)—Rupaka Tala—Tyagaraja

Shri Ranganatham (Sanskrit) —Jhampa Tala

—Jayachamaraja Wadiyar

KAMALAMANOHARI

Hindustani

Kamalamanohari is an imported raga from the South. Prof. B. Umdekar of Gwalior has tried to popularise this raga in the North. Kamalamanohari has been placed under Bhairav That, (Mayamalavagaula). Its jati is Audava-Shadava. Ri and Dh are omitted in aroha. In avaroha Ri is not used. Aroha and avaroha of Kamalamanohari are :

स · ग · म · प · धनि · सं—सं नि ध प · म · प म -ग ri स.

13

KAMALARANJANI

Svaras used are Tivra Ga, Suddha Ma, Komal Dh, and Tivra Ni. Pakad or Anga svaras of this raga are, स ग निर्धि सं—सं नि ध प ग म.

Svaras Ga, Ma, and Dh are important. This is a morning raga. This raga is considered to be a mixture of Bihag and Bhairav ragas. A composition in this rare raga is :

Payala Baje Jhanana—Trital Madhya—B. Umdekar.

Karnatak

Kamalamanohari is derived from the 27th Melakarta Sarasangi, (ri, gu, ma, dha, nu). It is an Audava-Shadava raga. Varja svaras in aroha are Ri and Dh. In avaroha Ri is dropped. Aroha and avaroha of Kamalamanohari are :

स ग2 म1 प ध2 सं—सं नि3 ध1 प म1 ग2 स.

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

स ग प ध नि सं—सं नि ध प म ग स.

These resemble the aroha and avaroha of Kamalamanohari as sung in the North. Kamalamanohari is not a very commonly heard raga. The following composition is however well-known.

Kanchadlayathakshi Kamakshi (Sanskrit)—Adi Tala, Muttuswamy Dikshitar.

According to Dikshitar'school, Kamalamanohari is called merely:Manohari and it is put under the 33rd. Melakarta Gangeyabhushini. As Ri is not used it makes no difference.

KAMALARANJANI

Hindustani

This is a rare raga. It belongs to Bilaval that (Dheerasankarabharana). Its jati is Audava-shadava. Ri is dropped in avaroha. Aroha and avaroha of Kamalaranjani are :

स ग प ध ri सं—सं नि $ ध नि प म ग प म -ग ri स.

Svaras used are Tivra Ga, Suddha Ma, Tivra Dh, and both

14

RAGANIDHI

Komal and Tivra Ni. Pakad or diagnostic svara groups are :

स न प - ध नि ध प - म ग - प म गस्सं

Komal Ni is used as in Bilaval

asri ṛi ḍha p. Sāṃgati rssam

is a feature of this raga. Svaragroups

प म - गssस्

sound like Kamalamanohari. This raga sounds

mostly like Bilaval. Absence of Ri in both aroha and avaroha

however gives it a different svaroop. In this raga there are chayas

of ragas Bihag and Bihagada. Commencement of Asthayco

is with the svara groups ग म - नि ध प - प म गssस्

. Beginning

sounds like Bihagada. Antara begins with ग प - नि ध नि - संड्सं

A composition in this raga is :

Javo Sakhi Javori—Tri Tal (Vilambit).

Hindustani ragas which are allied to Kamalaranjani are

Bilaval, Bihag and Bihagada. In all these ragas Ri is used and

hence they all differ from Kamalaranjani. (See Bilaval, Bihag,

and Bihagada).

Karnatak

There is no raga called Kamalaranjani in Karnatak

sangeet nor one which resembles this rare Hindustani raga.

KAMAVARDHINI

Hindustani

There is no Hindustani raga called Kamavardhini. Poorja

Dhanashree which belongs to Poorvi That (Kamavardhini) has

great resemblance to the Karnatak raga Kamavardhini. Poorja

Dhanashree has the following aroha and avaroha.

नि रि ग म प - धु प - नि स्स् मे ध प - में ग मं ध नि - ग रि स.

(See Poorja Dhanashree).

Karnatak

Kamavardhini is Melakarta No 51 (ra, gu, mi, dha, nu)

of Karnatak sangeet. This corresponds to Hindustani Poorvi

That. Its old name is Kashiramakriya. This Sampoorna—

Sampoorna raga has the following aroha and avaroha :

15

KAMBHOJI OR KAMBODHI

स रि ग म प ध नि सं—से नि ध प व म ग रि स.

Svaras used are Suddha Ri, Antara Ga, Prati Ma, Suddha

Dh and Kakali Ni. According to Hindustani notation the aroha

and avaroha are :

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

Kamavardhini is a very popular raga. It used to be called

Panthuvrali. Panthuvrali today stands for Shubhapanthu-

varali which corresponds to Hindustani Todi That. Some

persist in calling Kamavardhini as Panthuvrali. Kamavardhini

is one of the major ragas of the South. There are numerous

compositions in this raga. The following are very popular.

Appa Rama Bhakti Yento (Telugu) -- Roopaka Tala

, Tyagaraja.

Sarasaksha Paripalaya (Sanskrit)—Adi Tala

—Swati Tirunal.

KAMBHOJI or KAMBODHI

Hindustani

This raga is also called Kambodhi. Raga Kambhoji is said

to have been once popular in Hindustani sangeet. It is almost

extinct today. Kambhoji belongs to 'Hari (Hari

Kambhoji). Jati of Kambhoji is Audava-Sampoorna. In aroha

Ma and Ni are omitted. Aroha and avaroha of Kambhoji

are :

स रि - ग - ध सं—सं नि ध प - म - ध स.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Komal

Ni and Tivra Dh. Pakad or Gunjan svara groups are : ग रि

स—नि ध प -(म) प ध स. Vadi is Ga. Samvadi is Dh. This raga

is sung during the second prahara of night. A composition in

Kambodhi is :

Aye Babar Nore—Trital (Madhya).

Karnatak

Kambhoji or Kambodhi is a very popular raga. It is one

of the major ragas. Kambhoji is a janya of the 28th Melakarta

Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to

16

RAGANIDHI

Khamaj That of Hindustani sangeet. It is a Shadava-Sampoorna

raga. Ni is omitted in aroha. Aroha and avaroha of Kambhoji

are :

स रि2 म1 प ध2 स--सं नि2 ध2 प म1 ग2 रि2 स

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma,

Chatusruti Dha and Kaisiki Ni. Although Kaisiki Ni is the svara

to be used according to Melakarta Harikambhoji still in the

prayoga ऋ नि प ध सं. Tivra Ni is used. According to this usage

of Tivra Ni, the aroha and avaroha as actually observed are :

ॠ रि म प ध सं--सं नि प ध प म ग रि स.

Svara group सं नि प ध सं with Tivra Ni gives great beauty

to Kambhoji. There are several beautiful compositions in this

raga. A few are mentioned below.

Shree Subramanya Namaste (Sanskrit)--Roopaka Tala

--Muttuswamy Dikshitar.

Evari Mata (Telugu)--Adi Tala--Tyagaraja.

Mari Mari Vachuna (Telugu)--Adi Tala

--Mysore. B. Vasudevachar.

KAMOD

Hindustani

This raga is also called Kamoda. (Mechakalyani). Its jati is

Shadava-Sampoorna. Aroha and avaroha of Kamod are :

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

Svaras used are Tivra Ri, Tivra Ga, both Komal and

Tivra Ma, Tivra Dha and Tivra Ni. There are vakra sancharas

in both aroha and avaroha. Pakad or diagnostic svara groups

are :

स रि - प प · म ध प · म ग प · ग म नि - रि ग प. In aroha Ga

and Ni are kept weak or durbal. Vadi is Pa. Samvadi is Ri.

Only Tivra Ma is used in avaroha. In avaroha both Suddha and

Prati Ma are used. Sangati ऋ ग is very prominent in this raga

and is suggestive of Kamod. Svara groups म प ध म प - ग म प - ग

म रि स - रि ग प. are very much in evidence and form the soul of

this raga.

27

KAMOD

If Ga is omitted in this raga then it becomes what is called

Suddha Kamod. All other sancharas are as in Kamod. (See

Suddha Kamod). Kamod is sung during first prahara of night.

Compositions in Kamod are :

Hu To Janaman Chandi--Tri Tal (Vilambit).

Jane Na Doongi Yeri Ma--Trital (Madhya).

Hindustani raga Shyam Kalyani resembles Kamod.

Shyam Kalyani--Sungati ऋ ग is used, and not ऋ ग. (See

Shyam Kalyan).

Karnatak

There is a Karnatak raga called Kamoda. But it is not a

popular raga. Kamoda is a janya of 65th Melakarta Mechakalyani (ri, gu, mi, dhi, nu) which corresponds to Kalyan That

of Hindustani sangeet. Kamoda is an Audava-Audava raga.

Pa and Dha are completely omitted. Aroha and avaroha of

Karnatak raga Kamoda are :

स रि2 ग3 म1 सं--सं नि3 म2 ग3 रि2 स.

Svaras used are Chatusruti Ri, Antara Ga, Prati Ma, and

Kakali Ni. According to Hindustani notation the aroha and

avaroha of Karnatak raga Kamoda are :

स रि ग म नि सं--सं नि म ग रि स.

There are no compositions in the Karnatak raga Kamoda.

Aroha and avaroha of Karnatak raga Kamoda remind us

of the raga Megharanjini which is a janya of the 15th Melakarta

Mayamalavagaula (Bhairav That). Aroha and avaroha of

Megharanjini are as under :

स रि ग म नि सं--सं नि म ग रि स.

(See Megharanjini).

Karnatak raga Kamoda has no resemblance to Hindustani

raga Kamod.

Kamoda of South sounds like Adbhut Kalyan of Hindustani

sangeet. Aroha and avaroha of Adbhut Kalyan are :

स रि ग नि सं--सं नि ग रि स.

In Karnatak Kamoda Pa and Dha are not used. In Adbhut

Kalyan Ma and Pa are omitted (See Adbhut Kalyan).

A Karnatak raga which has some resemblance to the

2

18

RĀGANIDHI

Hindustani raga Kamod is raga Saranga which is a janya of the

65th Melakarta Mechakalyani (Kalyan That). Aroha and

avaroba of raga Saranga are :

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

Komal Ma is used in avaroba in a particular sanchara

प म रि स (See Saranga).

KANADA or KANARA

• Hindustani

In Hindustani sangeet there are a number of ragas called

Kanada-Durbari Kanada, Nayaki Kanada, Abhogi Kanada

etc. Durbari Kanada is the best representative of Kanada

features (See Durbari Kanada). Durbari Kanada resembles the

Karnatak raga Kanada very closely. In Durbari Kanada, Komal

Dh is used. In Karnatak raga Kanada Tivra Dh is used.

Karnatak raga Kanada with its Tivra Dh resembles the

Hindustani ragas Sahana-Kanada and Huseni Kanada. (See

Sahana Kanada and Huseni Kanada).

Karnatak

In Karnatak sangeet there is only one raga called Kanada.

There is a raga Kannada. This raga has nothing to do with raga

Kanada. (See Kannada).

In Karnatak sangeet there are ragas to which the prefix

"Kannada" is attached-Kannada Bangala, Kannada Goula

etc. But there are few ragas to which the prefix "Kanada" is

attached.

Kanada is a very popular raga in the South. It is a janya of

the 22nd. Melakarta Kharaharapriya (ri, gi, ma, dha, ni) which

corresponds to the Hindustani Kafi That. It is a Sampoorna-

raga having vakra sanchras in both aroha and

avaroba. Aroha and avaroha of Kanada are :

स रि2 ग2 म1 प ध1 नि2 सं—स नि2 ध2 प म1 ग2 रि2 स

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

Charusruti Dh and Kaisiki Ni. Dh is elongated in both aroha

and avaroha. Ga is elongated only in avaroha. There is andolan

on Ga in avaroha. According to Hindustani notation, aroha

and avaroha of Kanada are :-

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

In the rendering of Kanada the sanchras do not strictly

conform to the above mentioned aroha and avaroha. For

instance, स ऽ नि प ग ऽ is used in which svara Dh is omitted.

Unlike Durbari Kanada of North, Tivra Dh is omitted. With

Tivra Dh, Kanada of South resembles ragas, Sahana Kanada

and Huseni Kanada of North (See Sahana Kanada and Huseni

Kanada).

Popular Compositions in this raga are :-

Shree Narada (Sanskrit)--Roopaka Tala--Tyagaraja.

Mamava:Sada Janani (Sanskrit)--Roopaka Tala

--Swati Tirunal.

19

KANADA BAHAR

Hindustani

This raga is a mixture of the two popular Hindustani ragas

Durbari Kanada and Bahar. In poorvanga chaya of Durbari

Kanada and in uttaranga that of Bahar should the brought out.

This raga is put under Kafi that (Kharaharapriya). Its jati is

Sampoorna--Shadava. Dh is omitted in avaroha. Aroha and

avaroha are :-

म म नि स रि . स रि - नि - न् - न् - म प - म् ध नि सं—सं नि प

म प - न् - म रि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh

and both Komal and Tivra Ni. Pakad or Gunjan svara groups

consist of :-

ति नि . स रि म न् . म न् म प . म् धि . ध नि . सं . नि प . म प . न्

म . रि . रि . न् - म रि स.

In aroha while showing Bahar anga Tivra Ni is used. In

avaroba while showing Kanada chaya Komal Ni is used. Vadi

is Ma and Samvadi Sa. There is a slight chaya of Nayaki in

20

RAGANIDHI

poorvanga. Sangati नि ध and andolan on Ga are prominent.

Angas of Kanada and Bahar consist of :-

Kanada-नि . स रि - स नि धू प रि स - नि ध प - म प स - ग रि स

Bahar-म प . म प . नि ध स . नि स रिं सों - नि प.

This is a night raga. Compositions in this raga are :-

Kaisi Bahar Ayi—Ek Tal (Vilambit)—Jayasukhlal T. Shah,

Avasara Bara Bara Nahi Ave—Trital (Madhyam)—Jayasukhlal T Shah.

Karnatak

There is no Karnatak raga called Kanada Bahar. Karnatak

raga Kanada has some resemblance to Kanada Bahar. But

Komal Dh is not used in Kanada of South. (See Kanada).

KANADA MALHAR

Hindustani

This raga seems to be a recent introduction. It is a mixture

of the two popular Hindustani ragas Durbarí Kanada and

Malhar, popularly known as Mia Malhar. The poorvanga

consists of Kanada anga and the uttaranga of Malhar.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, both

Komal and Tivra Ga and both Komal and Tivra Ni. Vadi is Ri

and Samvadi Pa. Chalan or trend of this raga is :-

नि . नि .

स · नि स रि - ग़ . प . नि प - प स - नि रि स - स रि म प

म प रि स - म रि नि प . म प म ग़ म रे रि प - नि रि म प . म प नि

ध नि से - सं रि' नि सं - ध नि रि प - नि रि नि प म - म ग़ म ग़ रि स.

Angas of Kanada and Malhar are as under.

नि . नि

Kanada-नि स रि स - प प नि . प-प स . नि रि स - स रि

म प म प रि स.

Malhar-नि प . नि रि म प - म प नि ध नि स

21

KANAKAMBARI

Compositions in Kanada Malhar are :-

Mori Boondariya Pachharanga—Ek Tal (Drut).

Bramana Bara Poore—Jhap Tal (Madhyam).

Karnatak

There is no Karnatak raga called Kanada Malhar. Popular

raga Kanada of South has some resemblance to Kanada

Malhar. In Kanada Komal Dh is not used. (See Kanada).

KANAKAKUSUMAVALI

Hindustani

There is no Hindustani raga called Kanakakusumavali, nor

one which corresponds to this rare Karnatak raga. It is a

pleasing raga for the evening time. Its aroha and avaroha are :

स रि ग म प ध नि स—सं ध प म ग रि स

Karnatak

Kanakakusumavali is derived from the 61st Melakarta

Kanthamani (ri, gu, mi, dha, na). It is a Shadava—Shadava

raga. Ni is omitted in both aroha and avaroha. Its aroha and

avaroha are:-

स रि2 ग3 म2 प ध1 स—ध1 प म2 ग3 रि2 स.

Svaras used are Chaturasruti Ri, Antara Ga, Prati Ma and

Suddha Dh.

According to Hindustani notation the aroha and avaroha

are,

स रि म प ध स—सं ध प म रि स.

This is a rare but pleasant raga. The following composition

in this raga is available :-

Karunarasa Sharadhi Nanu (Telugu)—Ādi Tala—Tiruvottiyur

Tyagaraja.

KANAKAMBARI

Hindustani

There is no raga called Kanakambari in Hindustani Sangeet.

Its aroha sounds like Jogia. Inclusion of Tivra Dh and Tivra Ri

and their occurrence with Komal Dh and Komal Ri in avaroha

22

RAGANIDHI

as सं घ्‌ू प—म िरि स gives a beauty. It is a pleasing raga with

aroha and avaroha as :-

स िरि म प घ्‌ू सं—सं घ्‌ू प म िरि स.

Kanakambari is the old name for the 1st Melakarta Kanakangi (ra, ga, ma, dha, na).

Janya raga Kanakambari from 1st Melakarta Kanakangi is

an Audava–Sampoorna raga. Ga and Ni are omitted in aroha.

Its aroha and avaroha are:-

स िरि1 म1 प ध1 सं—सं िन1 घ्‌1 प म1 िर1 स.

Svaras used are all Suddha svaras of Karnatak sangeet.

According to Hindustani notation the aroha and avaroha

are,

स िरि म प घ्‌ू सं—सं घ्‌ू प म िरि ष

In the above Tivra Ri (र) represents Suddha Ga (ग1) and

Tivra Dh (ध्‌) represent Suddha Ni ( िन1) of Karnatak sangeet.

A composition in Kanakambari is:-

Kanakambari Karunyamrita Lahari (Sanskrit)–Trisra Eka

Tala–Muttuswamy Dikshitar.

KANAKANGI

Hindustani

There is no Hindustani raga called Kanakangi. Kanakangi

of South corresponds to the ancient Mukhari Scale. There is no

Hindustani raga which corresponds to the Karnatak raga Kanakangi.

Karnatak

Kanakangi is Melakarta No. 1 of Karnatak system (ra, ga,

ma, dha, na). This is the Suddha scale of the present day

Karnatak sangeet. According to Dikshitar School, this Mela-

karta is called Kanakambari. Aroha and avaroha of this

Sampoorna–Sampoorna raga are:-

स िरि1 ग1 म1 प ध1 िन1 सं—सं िन1 घ्‌1 प म1 ग1 िर1 स.

All svaras used are Suddha svaras of Karnatak sangeet.

According to Hindustani notation the aroha and avaroha

are :-

23

KANNADA

स िरि िम प घ्‌ ध सं—सं घ्‌ू प म िरि स.

In the above aroha and avaroha, Tivra Ri (रि) represents

Suddha Ga and Tivra Dh (ध्‌) represents Suddha Ni of Karnatak

sangeet.

Kanakangi is not a popular raga. Compositions in this raga

are:-

Kaukangaka–Adi Tala–Kotiswara Iyer.

Shrisha Putraya Namastute (Sanskrit).

Balamuralikrishna.

KANNADA

Hindustani

There is no Hindustani raga called Kannada. Hindustani

raga Kanada is a different raga and has no resemblance to

Kannada of South, but it has some resemblance to Karnatak

raga Kanada. (See Kanada).

Karnatak

There are three ragas called Kannada in Karnatak sangeet.

They are derived from three different Melakartas. Hence their

svarooṗs are entirely different.

TYPE 1

The type which is popular is derived from the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of Hindustani. Its jati is (a) Sampoorna--Sampoorna (b) Audava–Shadava.

The two jatis of Kannada of Dheerasankarabharana janya are:-

(a) Sampoorna–Sampoorna with vakra sancharas.

स िरि ग3 म1 प ध1 िन3 —सं िन3 सं ध2 प म1 ग3म िरि स.

(b) Audava–Shadava.

स ग1 म1 प ध3 िन3 (Ri and Pa omitted)—सं ध2सप म1 ग3स

म1 िन3 स—(Ni omitted).

Svaras used are Chatsruti Ri, Antara Ga, Suddha Ma,

Chatsruti Dha and Kakali Ni.

24

RAGANIDHĪ

According to Hindustani notation the aroha and avaroha of the two types are :-

(a) Sampoorna--Sampoorna Type

स ri2 ग2 म प ध2 नि2 स—स नि2 ध2 प म ग2 ri2 स

(b) Audava-Shadava Type

स ग म प ध नि स—स व ध2 प म ग म ध नि स

The following compositions in Kannada derived from Dheersankarabharana are popular.

Intakata Kavalana (Telugu)—Rupaka Tala--Pattanam Subramanya Iyer.

Saketa Niketana (Telugu)—Rupaka Tala—Tyagaraja.

TYPE II

Raga Kannada derived from Melakarta Natabhairavi (Asavari That) is an interesting one although it is not popular.

Its jati is Audava—Audava. Ri and Ni are omitted in aroha and Pa and Ri are not used in avaroha.

Aroha and avaroha of this Kannada are :-

स ri2 म1 प ध1 स—स ri2 ध1 म1 प स

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

स ग़ म प ध़ स—स नि ध म ग स

This is not a popular raga. This raga resembles the Hindustani raga Kokila Pancham. (See Kokilapancham).

This type is allied to Hindola Vasantha, Gopika Vasantha, Jayantashree and Prabhupriya ragas of Karnatak Sangeet.

Hindola-Vasantha—Ni used in aroha in vakra sanchara. Pa is used in avaroha in vakra sanchara. (See Hindola Vasantha).

Gopika Vasantha—Ni used in aroha, Pa used in avaroha. (See Gopika Vasantha).

Jayantashree—Pa not used in aroha. Ni used in aroha. Pa is used in avaroha in vakra sanchara. (See Jayantashree.)

Prabhupriya—Aroha and avaroha are both like aroha of Kannada—type II. (See Prabhupriya)

25

KANNADA BANGALA

TYPE III

According to Dikshitar school, Kannada raga is a janya of 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni). Its jati is Sampoorna-Sampoorna.

Aroha and avaroha are—

स ri2 म1 प ध2 स—स नि2 ध2 प म1 ग2 ri2 स

According to Hindustani notation, they are :-

स ri ग म प ध़ स—स ध़ ri ग म ग ri स

A composition in this type of Kannada is :-

Shri Mathrubhutam (Sanskrit)—Misra Eka Tala—Muttuswamy Diksbitar.

KANNADA BANGALA

Hindustani

There is no Hindustani raga called Kannada Bangala. Hindustani raga Bangala Bhairav which belongs to Bhairav That (Mayamalavagaula) resembles Kannada Bangala. Aroha and avaroha of Bangala Bhairav are:-

ष ri ग म प ध़ स—स प़ म ग ri स नि स

As in Kannada Bangala, Ni is omitted in Bangala Bhairav (See Bangala Bhairav).

Karnatak

Kannada Bangala is derived from the 15th Melakarta, Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Hindustani Bhairav That. Kannada Bangala is a Shadava-Shadava raga with vakra sanchara in aroha. Ni is omitted in this raga. Aroha and avaroha of Kannada Bangala are :-

स ri1 म1 ri ग ri1 प ध1 स—स ध1 प म1 ग ri3 स.

Svaras used are Suddha Ri, Antara Ga, Suddha Ma and Suddha Dh. According to Hindustani notation aroha and avaroha of Kannada Bangala are,

स ri ग म प ध़ स or स ग़ प ध़ स—स ध़ प म ग ri स

Kannada Bangala is not a popular raga. The following composition in this raga is available :-

Ilalona Necku (Telugu) - Adi Tala—Tiruvattiyur Tyagayya (Gopala Dasa).

26 RAGANIDHĪ

According to Dikshitar's school, Kannada Bangala is an Audava-Shadava raga. In aroha Ga and Ni are omitted. In avaroha Ni is omitted. Aroha and avaroha are :-

स रि₁ म₁ प ध₁ स—स रि₁ म₁ ग रि₁ स

स हि म प ध स--स ह्य प म ग हि स

According to Hindustani notation they are:-

A composition with this aroha and avaroha is ; Renukadevi Samrakshitoham (Sanskrit)--Jhampa Tala--

Muttuswamy Dikshitar.

It will be seen that the above aroha and avaroha are exactly like those of raga Malahari. (See Malahari).

KANNADA GAULA

Hindustani

There is no Hindustani raga called Kannada Gaula. This Karnatak raga is an interesting one and can be introduced into Hindustani sangeet under Kafi That. Aroha and avaroha of Kannada Guala are :-

स रि ग म प धि स—स नि ध प म ग रि स

स हि ग म प धि स--स नि ध प म ग हि स

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh and Komal Ni. In aroha Dh, and in avaroha Ri are omitted.

Karnatak

Kannada Gaula is a janya of the 22nd Melakarta Kharahara-priya (ri, gu, ma, dhi, ni) which corresponds to Kafi That of Hindustani sangeet. Its jati is Shadava--Shadava. In aroha Dh is not used and in avaroha Ri is omitted.

Aroha and avaroha of Kannada Gaula are :-

स रि₂ ग₂ म₁ प ध₁ स—स ध₂ नि₂ प म₁ ग₂ रि₂ स

स रि ग म प ध स--स ध नि प म ग रि स.

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

According to Hindustani notation the aroha and avaroha are :-स हि ग म प ध स—स ध नि प म ग हि स.

In Kannada Gaula, Kaisiki Ni in aroha and Sadharana Ga in avaroha are the jeeva svaras. The following svara groups are

27 KANTAMANI

beautiful in this raga. फि, यु धि, स ग् रि—प म ग् रि—म ग् रि से नि ध—

स रि ग म ग स—हिं ग् रि से नि ध प म, etc.

Kannada Gaula is a fairly popular raga. The following compositions are frequently heard.

Ora Jupu Chuchedi (Telugu)--Adi Tala--Tyagaraja.

Sogasu Jooda Tarama (Telugu)--Rupaka Tala--Tyagaraja.

According to Dikshitar's School, raga Kannada Gaula is of two types--(i) SampoornA--Audava (Dh and Ri are omitted in avaroha) and (ii) Audava--Audava (Ri and Dh are omitted in aroha and Pa and Ri in avaroha). According to Hindustani notation they are :-

SampoornA--Audava—

स रि ग् ध प धि स—स नि ध प म ग् रि स

Audava--Audava—स ग् रि म प नि स—स नि ध प म ग् रि स

KANTAMANI

Hindustani

There is no Hindustani raga called Kantamani nor one which resembles this rare Karnatak raga.

Karnatak

Kantamani is Melakarta No. 16 of Karnatak Melakarta Scheme (ri, gu, mi, dha, na). Its old name is Kuntala. It is a SampoornA--SampoornA raga having the following aroha and avaroha :-

स रि₃ ग₃ म₂ प ध₁ नि₁ स—स नि₁ ध₁ प म₂ ग₂ रि₃ स

स हि मे प ध नि स--स नि ध प मे हि स

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

स रि मे प ध नि स—स धू प म गा रि स

In the above Tivra Dh (ध) represents Suddha Ni of Karnatak sangcet.

Kantamani is not a popular raga. The following composition in this raga is available :-

Palintuvo (Telugu)--Adi Tala--Tyagaraja.

28

RAGANIDHI

KAPI

Hindustani

There is a Hindustani raga called Kafi which resembles the Karnatak raga Kapi. (See Kafi).

Karnatak

There are two varictics of Kapi raga. The popular one is the Hindustani Kapi. The other one is the Karnataka Kapi. Both are derived from the 22nd Melakarta Kharabarapriya (Kafi That) and are discussed under Hindustani Kapi and Karnataka Kapi.

KAPINARAYANI

Hindustani

There is no Hindustani raga called Kapinarayani, nor one which resembles this Karnatak raga. Khammajee Bhatiyar of Hindustani sangeet has some resemblance to Kapinarayani. But in Khammajee Bhatiyar Ni is not used in aroha. Aroha and avaroha of Khammajee Bhatiyar are ;-

सा रे ग प ध सं--सं ध प म ग रि स

(See Khammajee Bhatiyar).

Karnatak

Kapinarayani is derived from the 28th Melakarta Hari-kambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani. Kapí Narayani is a Shadava-Sampoorna raga. Ga is not used in aroha. Aroha and avaroha of Kapi-narayani are ;-

सा रि2 म1 प ध2 नि2 सां--सं ध2 प म1 ग2 रि2 स.

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

According to Hindustani notation the aroha and avaroha are :-

सा रि म प ध नि सं--सं ध प म ग रि स.

Suddha Ma and Kaisiki Ni are the raga chaya svaras of Kapinarayani. Following sancharas are specially employed in this raga ;-

29

KARNATAKA BYAG

रे ग्र रे म . म प म रे . ध नि . से नि ध प स

The following composition in Kapinarayani is very popular :-

Sarasa Samadana Bheda Danda (Telugu)—Adi Tala

-Tyagaraja.

KARNARANJINI

Hindustani

There is no Hindustani raga called Karnaranjini. Hindustani raga Manohari having the following aroha and avaroha has some resemblance to the rare Karnatak raga Karnaranjini.

सा रि ग म प सं--सं ध प म ग रि स.

(See Manohari)

Karnatak

Karnaranjini is a janya of 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi that. Its jati is Shadava-Sampoorna. Ni is omitted in aroha. Aroha and avaroha of Karnaranjini are :-

सा रि2 म1 ग2 प ध2 सं--सं नि2 ध2 प म1 ग2 रि2 स.

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

सा रि म ग प ध सं--सं नि ध प म ग रि स

There is vakra sanchará in aroha. A composition in this rare raga is :-

Vanchadomuna (Telugu)—Trisra Jati Triputa Tala--

Muthiah Bhagavatar.

KARNATAKA BYAG

Hindustani

There is no Hindustani raga called Karnataka Byag. Raga Bihag of Hindustani sangeet has no resemblance to the raga Karnataka Byag. Raga Khamaj of Hindustani sangeet has some resemblance to raga Karnataka Byag. (See Khamaj).

30 RAGANIDHI

Karnatak

Karnataka Byag is derived from the 28th Melakarta Hari-kambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That. Its jati is Sampoorna-Sampoorna, with vakra sancharas in avaroha. Aroha & avaroha of Karnataka Byag are :-

स ri2 ग2 म प ध2 नि2 से—सं नि2 ध2 नि2 प ध3 म1 ग3 ri2 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 ri ग म प ध नि सं—सं ध नि ध प म ग ri स

This raga is not a popular one. One familiar composition in this raga is a kriti by Shri Tyagaraja commencing with the words “Neenendu Vedu Kundura”. Even regarding this composition some consider it to be in the raga Harikambhoji. But certain sancharas in the rendering resemble those of the avaroha of Karnataka Byag as indicated above.

KARNATAKA DEVAGANDHARI

Hindustani

There is no Hindustani raga called Karnataka Devagandhari which is different from the popular Karnataka raga Devagandhari.

One type of Raga Karnataka Devagandhari resembles the popular Hindustani raga BhimpaIas .which has the following aroha and avaroha :-

स ग् म प ध्रि सं—सं ध्रि प म ग् ri स

(See BhimpaIas)

BhimpaIas also resembles the present day Abheri of South which uses Chatusruti Dh (Tivra Dh).

Karnatak

Type I.

(Kharaharapriya janya)

This type of raga Karnatak Devagandhari (not Devagand-hari) has come to light since very recently. This raga has the

31 KARNATAKA KAPI

same aroha and avaroha as the present day Abheri which uses Chatusruti Dh and hence resembles the Hindustani raga BhimpaIas. Had the existence of the raga Karnataka Devagandhari been known to our musicians some forty years ago perhaps Abheri raga would not have undergone the change it did. It would have continued to make use of only Suddha Dh.

Although in Abheri Chatusrati Dh is now mostly used a touch of Suddha Dh is still lurking in certain sancharas in the Kriti “Nagumomu” of Shri Tyagaraja. By emphasising the use of Suddha Dh atleast in certain sancharas like प स ग् रि म म स it will be possible to give the new Abheri a different svaroop from raga Karnataka Devagandhari.which does not make use of Suddha Dh.

Aroha and avaroha.of Karnatak Devagandhari, which is an Audava–Sampoorna raga, are :-

स ri2 ग2 म1 प नि2 से—सं नि2 ध2 नि2 प ध1 म1 ग2 ri2 स

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

स ग् म प ध्रि सं—सं ध प म ग् ri स

A composition in raga Karnatak Devagandhari which is becoming popular is :-

Panchashat Pitha Rupini (Sanskrit)—Adi Tala—

Muttuswamy Dikshitar.

Type II

(Kiravani janya)

Its aroha ahd avaroha are :-

धि ri स ग् म प—प् ध प म ग् ri स धि

It is a Nishadantya raga and is not popular.

KARNATAKA KAPI

Hindustani

There is no Hindustani raga called Karnataka Kapi. There is a raga Kafi which resembles Karnatak raga Karaharapriya from which raga Karnataka Kapi is derived. (See Kafi).

32

RAGANIDHI

Karnatak

Karnataka Kapi is defferent from the Kapi which is in currency at present under the name Hindustani Kapi. Unlike raga. Svaras used are only those which are found in the Melakarta to which it belongs. Karnataka Kapi is a janya of the 22nd Melakarta Karaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi That. It is a Sampoorna raga with vakra sanchara in avaroha.

Aroha and avaroha of raga Karnataka Kapi are :-

स ri2 ग2 S म1 प ध2 नि2 सं–सं नि2 ध2 प म1 ग2 रि2 स

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma, Chatsruti Dh and Kaisiki Ni. Ga is elongated in aroha. In this raga admixture of Hindustani raga Pilo0 is not found. Although many compositions were originally meant to be sung in the Kapi of South, at present sanchras of Hindustani Kapi are introduced. A composition which is sung in the pure Karnataka Kapi style is :-

Kousumbha Vasanopethe (Sanskrit)–Mishra Chapu Tala– Muthiah Bhagavatar.

KARPURABHARANI

Hindustani

There is no Hindustani raga called Karpurabharani. Although Ni is not used there is a flavour of Hindustani raga Madhuvanti in this rare Karnatak raga. (See Madhuvanti).

Karnatak

Karpurabbarani is a new raga which has been invented by Shri P. K. Rajagopala Iyer.

It is a janya of the 59th Melakarta Dharmavati (ri, gi, mi, dhi, nu). Its jati is Shadava–Shadava. Ni is omitted in both aroha and avaroha. There are vakra sanchras in both aroha and avaroha. Its aroha and avaroha are :

स ri2 ग2 प म2 ध2 सं–सं ध2 प म2 प ग2 रि2 स

Svaras used are Chatusruti Ri, Sadharana Ga, Prati Ma– Chatusruti Dh and Kakali Ni. According to Hindustani notation they are :-

33

KATHI MAND

स ri ग म प ध सं–सं ध प मं प ग ri स

Beauty of this raga lies in the vakra sanchras ग प मं and प मं प ग ri स

The following composition in this raga is in praise of Saint Tyagaraja.

Tyagarajam Bhajare Chitta–Adi Tala–P. K. Rajagopala Iyer.

Dharmavati, parent raga of Karpurabharani, is alliad to it. Dharmavati–Ni is used. There are no vakra sanchras. (See Dharmavati).

KASHIRAMAKRIYA

Hindustani

There is no Hindustani raga called Kashiramakriya. Poorvi That corresponds to this Karnatak Melakarta which at present is called Kamavardhini. (See Poorvi).

Hindustani raga which has some resemblance to the janya raga Kashiramakriya is Poorvia Dhanashree. (See Poorvia Dhanashree).

Karnatak

Kashiramakriya is the old name for the 51st Melakarta raga called at present Kamavardhini (ra, gu, mi, dha, nu). Kashiramakriya is a janya raga from the 51st Melakarta, Kamavardhini. Jati of Kashiramakriya is Sampoorna–Sampoorna, with vakra sanchara in aroha. Its aroha and avaroha are :-

स म2 ri1 म2 प ध1 नि2 सं–सं नि2 ध1 प म2 ग2 ri1 स.

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

स नि ध मं प धु सं–सं नि धु प मं ग ri स.

A composition iu this raga is :-

Shri Sundararajam (Sanskrit)–Adi Tala–Muttuswamy Dikshitar.

KATHI MAND

Hindustani

Kathi Mand is the name given to the raga in which a kind of folk song is sung during marriages in Rajasthan. There is a

34

RAGANIDHI

ceremony in which people sing this song and dance round a

pole (Kathi) which is pitched in the ground.

Svaras of Kathi Mand are almost like that of Mand. But it

has got a peculiar flavour of its own.

Karnatak

There is no raga called Kathi Mand in Karnatak sangeet.

Raga Mand which has established itself in the South resembles

Kathi Mand of Rajasthan.

KEDARA

Hindustani

Kedar or Kedara is a very popular raga. It is also an old

raga. Kedar belongs to Kalyan That (Mechakalyani). Its jati is

Audava--Shadava or Sampoorna. Ri and Ga are omitted in

aroha. In avaroha Ga is either omitted or taken in a vakra

sanchara. Aroha and avaroha of Kedara are :-

स म स - म प - ध प - नि व - सं-से - नि ध प - मं प - ध प - म -

प म रि स and when Komal Ni is used से - नि ध प - मं प ध नि

ध प - म - प म रि स.

Svaras used are Tivra Ri, Tivra Ga, both Suddha and Prati

Ma, Tivra Dh and both Komal and Tivra Ni. Pakad or Gunjan

svara groups are :-

स - म स - म प - ध प - म प - म स - प म स - रि स. Although

both Madhyamas are used the jeeva svara is Suddha Ma. This

svara is kept isolated and elongated.

Komal Ni is sparingly used in a special sanchara

म' प ध नि प. It is possible to sing raga Kedara omitting

Komal Ni altogether. Occassionaly it is used as सं - नि ध प.

Vadi is Suddha Ma. Samvadi is Sa. Sangati स म स is

very pleasing. Ga, although used in avaroha, is weak

(durbai). It is often not used in many sancharas. Sometimes

both the Madhyamas are used side by side as प ध म म स -

प म स. This is a night raga. Popular compositions in raga

Kedara are :-

Bana Thana Ka--Ek Tal (Vilambit).

Kanganawa Mora--Trital (Drut).

35

KEDARA

Hindustani ragas Chandani Kedar, Suddha Kedar, Maluha

Kedar, Jaidhar Kedar and Bhavani Kedar, contain the Kedar

anga in them. Chandani Kedar resembles raga Kedara very

closely.

Chandani Kedar-Ga is used prominently. Svaragroups

नि श म प ध and प ध नि स are characteristic. (See Chandani

Kedar.)

Karnatak

Kedara of Karnatak sangeet is a popular raga. But Kedara

of South has no resemblance to the Kedara of North.

Kedara of South is a janya of the 29th Melakarta, Dheera-

sankarabharana (ri, gu, ma, dhi, nu) which corresponds to

Hindustani Bhaiaval That. Its jati is Audava--Shadava or

Audava-Sampoorna. Aroha and avaroha of Kedara types

are :-

Type :-Audava--Shadava.

स ग1 म3 ग1 प ध3 सं--सं ध3 प म1 ग3 रि2 स

In aroha Ri and Dh are not used. In avaroha Dh is omitted.

Type :-Audava-Sampoorna.

स रि1 ग3 म1 प ध3 सं--सं नि3 प म1 ग3 म1 ग2 म1 रि3 स;

In aroha Ri and Dh are not used.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma,

Chatusruti Dh and Kakali Ni. According to Hindustani

notation aroha and avaroha are :-

Audava--Shadava type :-

स रे ग म प ध--स नि प मे ग रि स.

Audava--Sampoorna type :-

स म ग म प धि सं--सं धि प म ग म ध म ग रि स.

The Audava--Shadava type has some resemblance to raga

Tilang of Hindustani sangeet. The Audava--Shadava type

is more popular than the Audava--Sampoorna type.

Following sancharas are characteristic of raga Kedara.

स म ग म - प सं नि प म - गे रि से नि प म ग म - न ग प सं नि प म - प रि

स धि रि - नि - स ग स ss etc.

36

RAGANIDHI

Popular compositions in Kedara are :-

Rama Nee Pai Tanaku (Telugu) – Adi Tala – Tyagaraja.

Bhajana Seyave Oh Manasa (Telugu) – Roopaka Tala

–Anayya.

Karnatak raga Neelambari has some resemblance to Kedara.

Neelambari–Ma is elongated and has andolan. Kaisiki Ni is used occassionally. (See Neelambari).

Hindustani raga Nata Bihag of Shadava - Shadava jati has some resemblance to Karnatak raga Kedara. Aroha and avaroha of Shadava - Shadava type Nata Bihag are as under:-

स स. रि रि. ग म ग . प . नि सं–रे रि सं रि ग म . सं-स प. म प . नि . स, (See Nata Bihag).

KEDAR BAHAR

Hindustani

Kedar Bahar is a “samyukta” raga formed by combining the two popular ragas Kedar and Bahar. Jati of Kedar Bahar is Audava - Sampoorna. Dh and Ni are not used in aroha.

Aroha and avaroha of Kedar Bahar are :-

स . रि स . म प (त) . गु म . प . सं–नि सं ध प म . प म गु -

म . गु प . गु म . रि स - रि . स

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra

Dh and Komal Ni. Komal Ni is used sparingly in the sancharas

नि . स म . म नि (त) प . नि प म . Tivra Ni is sometimes touched

in the svara groups सं' नि' गं में पं में. Pakad or diagnostic

svara groups are, स प . रि ग . रि . स . नि सम -प . धपम . प म गु -

म . गु म प . गु म . रि . स . Vadi is Ma. Samvadi is Sa. This

raga is sung during the second prahara of night.

As Kedar and Bahar are both night ragas their combi-

nation in Kedar Bahar is beautiful. It is a night raga. Being

a new raga it has not become popular yet. A composition in

Kedar Bahar is,

Madhumat Ayee Hara Harshayee–Trital–(Madhya)–

S. N. Ratanjankar.

37

KEDARAGAULA

Karnatak

There is no Karnatak raga called Kedar Bahar, nor one

which resembles this Hindustani raga.

KEDARAGAULA

Hindustani

There is no Hindustani raga called Kedaraqaula. Hindustani raga Des or Desh has great resemblance to this Karnatak

raga. Des has the following aroha and avaroha.

स रि म प नि सं or स रि ग . नि ध . प नि सं–सं नि ध प-म ग . रि स.

(See Desh).

It is possible to combine the Hindustani ragas Kedar and Goudsarang and create a raga Kedaragauda for Hindustani

sangeet. Aroha and avaroha of this new raga Kedaragauda of Hindustani sangeet will be

स . म S . प रे . म ग म . प . नि ध लं–सं नि ध प . म प ध प . म S . ग

रि . म -प . रि स

This Kedaragauda will have no resemblance to the

Kedaragaula of South. This new raga will be an interesting

one.

Karnatak

Kedaragaula is a very popular raga. It is a janya of the

28th Melakarta, Harikambhoji (ri, gu, ma, dhi, ni) which

corresponds to Hindustani Khamaj That. Its jati is Audava-

Sampoorna. Ga and Dh are not used in aroha. Aroha and

avaroha of Kedaragaula are :

स रि2 म1 प ध2 सं–से नि2 ध2 प म1 ग रि2 स.

Svaras used are Chatsruti Ri, Antara Ga, Suddha Ma,

Chatsruti Dh and Kaisiki Ni. Aroha and avaroha according

to Hindustani notation are :

स रि ष प सं–नि ष–सं रि ग़ प म ग रि स.

Kedaragaula of South resembles Hindustani raga Des or Desh. Tivra Ni is not used in Kedaragaula. (See Des or Desh).

Kedaragaula has veera rasa. Popular compositions in Kedaragaula are :

Tulasi Bilwa (Telugu)—Adi Tala—Tyagaraja,

Ncelakantham Bhaje (Sanskrit)— Rupaka Tala—

Muttuswamy Dikshitar.

Saraguna Palimpa (Telugu)—Adi Tala

—R. Sreenivasa Iyengar.

KEDARA NATA

Hindustani

Kedar Nata belongs to Bilaval That (Dheerasankara-bharana). Its jati is Sampoorna-Sampoorna. Aroha and avaroha of this rare raga are :-

लि सं रि ग म प ध नि सं नि ध प म ग ri स.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivara Ni. Pakad or “raga chaya” svara groups are :-

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

Ni is weak or “ durbal ”, in aroha. In this raga svara groups of Nata are:-

नि ग म प · स नि स · रि ग · म · ध प म · ग म.

Chalan of Kedara Nata is as under :-

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

ध प म · स रि ग म प · म ग ri स.

Vadi is Ma. Samvadi is Sa, Svara group सं · नि ध sounds like Ananda Bhairav. Therefore सं नि ध प · ध नि प should be used. Kedara Nata is not a popular raga. Compositions in this raga are :

Jaya Jagat Oddharana—Trital (Madhya)

—S. N. Ratanjankar.

Dai Marore Deetha—Trital (Madhya)

Karnatak

There is a Karnatak raga called Kedara Nata. It is a janya of the 27th Melakarta, Sarasangi (ri, gu, ma, dha, nu). Its jati is Shadava-Shadava. Dha is omitted in this raga. Aroha and avaroha of Kedara Nata are :-

स रि2 म1 प ध1 प सं—स नि3 प ध1 म1 ग3 ri2 स.

Svaras used are Chhatushruti Ri, Antara Ga, Suddha Ma and

Kakali Ni. According to Hindustani notation they are :-

स रि ग म प ध नि सं—सं नि व म ग ri स.

Kedara Nata is not a popular raga. Kedara Nata and Kedara of South resemble each other. In Kedara Ri is not used in aroha (See Kedara).

KESARI

Hindustani

There is no Hindustani raga called Kesari, nor one which resembles this rare Karnatak raga.

Karnatak

Kesari is not a popular raga. It is a janya of the 25th Melakarta Mararanjani (ri, gu, ma, dha, na). Jati of Kesari is Shadava-Sampoorna. Ni is omitted in aroha. Aroha and avaroha of this raga are:

स रि2 ग3 म1 प ध1 सं—स नि3 ध1 प म1 ग3 ri2 स.

Svaras used are Chhatushruti Ri, Antara Ga, Suddha Ma, Suddha Dh and Suddha Ni. Aroha and avaroha of Kesari according to Hindustani notation are:-

स रि ग म प धू ध सं—स धू ध प म ग ri स.

Tivra Dh stands for Suddha Ni of Karnatak sangeet. There are vakra sancharias in both aroha and avaroha. The following composition in this raga is available :-

Nannu Kannatalli (Telugu)—Adi Tala—Tyagaraja.

KHAMAJ

Hindustani

Khamaj is a very popular raga. It belongs to Khamaj That (Harikambhoji). Kharaj is a Shadava-Sampoorna raga. Ri is omitted in aroha. Aroha and avaroha of Khamaj are :-

स ग म - प ध नि सं—सं नि ध प म ग ri स.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and Komal Ni. Tivra Ni is also used in aroha as सं नि सं · नि ध

नि सं. Pakad or diagnostic svara groups are : नि ध-म प · ध-म ग.

40

RAGANIDHI

Vadi is Ga. Samvadi is Ni. Sangati is frequently used. Although Ri is a varja svara in aroha some think that it is only durbal or weak. Hence in rapid tanas use of Ri is overlooked or excused. Pa is sometimes hidden in avaroha as seen in the foilowing sancharas which are pleasing even without Pa being used— . Ni is sometimes dropped in aroha as in . Although Komal Ni is the svara which is used, Tivra Ni is introduced in aroha as in . While singing Khamaj, sancharas should not be made in great detail in Mandra saptak. It will then sound like Jinjoti. Beauty :of this raga lies in the svaras and . Tanas end on these svaras.

This raga has Sringarara rasa. Hence it is specially used for singing Thoomries, Tappas, Horis etc. There are a few Dhrupads in Khamaj. Khyals are not generally sung in Khamaj. This raga is mixed with many other ragas when Thoomries are sung. Khamaj is sung during the second prahara of night. Popular compositions in Khamaj are:— Sakhi Savaro Giridhara—Trital (Madhya)—S.N. Ratanjankar. Na Manungi Na Manungi—Trital (Madhya).

Raga Khamaj is also called Khamas or Khamach in the South. It is a very popular raga. Khamas resembles the Hindustani raga Khamaj very closely. Khamas is a janya of the 28th Melakarta, Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani sangeet. Jati of Khamach is Shadava-Sampoorna. Ri is not used in aroha. Aroha and avaroha of Khamas are :

. Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatusruti Dha and Kaisiki Ni. There is a vakra sanchara in aroha. Aroha and avaroha according to Hindustani notation are ;

In aroha sometimes Kakali Ni (Tivra Ni) is used as in .

41

KHAMBAYATI

Khamas has Sringarara rasa. It is specially suited for singing Javalis. The following compositions are very popular. Seetapathe Namanasu (Telugu)—Adi Tala—Tyagaraja. Brochevarevarura (Telugu)—Adi Tala—Mysore Vasudevachar.

According to Dikshitar school Khamach is a Sampoorna—Sampoorna raga with no vakra sancharas. A composition in this type is :

Enta Ninne Delupudura (Telugu)—Trisra Eka Tala— Muttuswamy Dikshitar.

KHAMBAYATI

Hindustani

Khambavati belongs to Khamaj That (Harikambhoji). Its jati is Audava Shadava. Ga and Ni are omitted in aroha. Ri is dropped in avaroha. Aroha and avaroha of Khambavati are :—

. Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dha and Komal Ni. Pakad or Gunjan svara groups are:—

. Vadi is Sa and Samvadi Pa. Sangatis and are very beautiful in this raga. Khambavati should be sung slowly to bring out the full bhava of the raga.

Svara group with "meend" is the soul of this raga and gives it its individuality. Sometimes Tivra Ni is used in aroha as in — . There are chayās of Mand and Sindhura in this raga. Sindhura chāyā is found in the swara groups — .

Khambavati is sung during the second prahara of night. Compositions in Khambavati are—

Laja Sharama Toku Nahin Ave—Trital (Madhya)— S. N. Ratanjankar.

Piya Bina Naina Neend Na Ave—Trital (Madhya).

One author mentions a kind of Khambavati having the following aroha and avaroha.

स रे ग म प नि धि सं—सं नि ध प म ग म स.

This resembles raga Durga of Khamaj That (Madhura-dhvani) with the Khambavati ending प म स attached to it.

Karnatak

There is no Karnatak raga called Khambavati. Karnatak raga Balahamsa has some resemblance to Khambavati of Hindustani.

Balahamsa is derived from the 28th Melakarta Hari-kambhoji (Khamaj That). Aroha and avaroha of Balahamsa are :-

स रि म प ध सं—सं नि ध प म रि स न ग स.

In Khambavati avaroha ends with प म स. In Karnatak Balahamsa it ends with म न स. (See Balahamsa)

KHAMMAJEE

Hindustani

Khammajee belongs to Khamaj That (Harikambhoji). This raga is a mixture of the two ragas Khamaj and Jinjoti. Khamaj anga is more prominent. Its jati is Shadava–Sampoorna. In aroha Dh is not used. Aroha and avaroha of Khammajee are :

स रि ग म प नि सं—सं नि ध प म ग रि स.

स रि ग म प नि—नि ध प ग रि ग प स.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Pakad or diagnostic svara groups are :- ग म प नि सं—सं नि ध प म ग रि स. Vadi is Ga and Samvadi Ni This is a rare raga. A composition in this raga is :-

Aaye Raghuveera Lankapati—Jhaptai (Madhya).

There is a Karnatak raga called Khamajee which is a janya of the 28th Melakarta Harikambhoji. (Khamaj That of Hindustani). Its aroha and avaroha are :-

स ग म प ध नि सं—सं नि ध प म ग म स.

In avaroha म म स sounds like Khambavati of North. Khamaji is a rare raga. Compositions in this raga are not available.

KHAMMAJEE BHATIYAR

Hindustani

This is a type of raga Bhatiyari. (See Bhatiyari).

Karnatak

There is no Karnatak raga called Khammajee Bhatiyar. Karnatak raga Sama resembles Hindustani raga Khammajee Bhatiyar. (See Khammaji Bhatiyar and Sama).

KHARAHARAPRIYA

There is no Hindustani raga called Kharaharapriya. The Maharashtra stage song "Tejanabhi" is an imitation of the kriti in Telugu commencing with the words "Sankalpa Metido Manasa" in the raga Kharaharapriya. Svaras of Kafi That of Hindustani sangeet correspond to those of Melakarta raga Kharaharapriya. Svaras used in Kafi that are:-

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

(see Kafi).

Karnatak

Kharaharapriya is a very popular raga. It is a very pleasing raga. It is a favourite raga with instrumentalists. Old name for this raga was only Harapriya. Word "Khara" has been prefixed for purposes of the "Katapayadi" sankhya scheme. According to Dikshitar school this raga is called Sriragam.

Kharaharapriya is the 22nd Melakarta (ri, gi, ma, dhi, ni) corresponding to Hindustani Kafi That. Jati of Kharaharapriya is Sampoorna–Sampoorna. Its aroha and avaroha are:

44

RAGANIDHI

स रि3 म2 म1 प ध2 नि2 स—स नि3 ध प म1 गा रि5 स.

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

Chatushruti Dh and Kaisiki Ni. According to Hindustani

notation the aroha and avaroha are :

स रि म प ध नि स—स नि ध प म ग रि स.

Sadharana Ga, and Kaisiki Ni, are jeeva svaras of Kharapriya. Popular compositions in this raga are :-

Chakkani Raja Marga (Telugu)—Adi Tala—Tyagaraja.

Pakkala Nila Badi (Telugu)—Chapu Tala—Tyagaraja.

KHAT OR SHAT

Hindustani

This is not a popular raga. There is diversity of opinion

regarding this raga. It is considered to be a mixture of six

ragas and hence called "Shat". Word 'Shat' has become

changed to "Khat". Even regarding the six ragas which go

to form "Shat" or "Khat" there is difference of opinion. Some

think that the six ragas are Suha, Kanada, Sarang, Desi,

Gandhari and Sugharayee. Others think that the six ragas are

Ramakali, Asavari, Todi, Gujari, Varati and Gandhari.

On account of the mixture of several ragas, a number of

types of Khat are mentioned. In the type of Khat that is

occasionally heard, angas of Bhairavi and Asavari are present.

Jati of this type is Shadava–Sampoorna. Ri is omitted in

aroha. Aroha and avaroha are :

स ग म प धू प नि सं—नि सं ध ग म प धू प

ग म प धि स.

In all types of Khat, Ma is Komal. Other svaras vary

from type to type of Khat. The following compositions are

heard in raga Khat ;-

Ye Ri Aj Sakhi Bana te Bane—Trital (Madhya),

Shri Rama Jaya Rama—(Marathi)—Jhaptal (Madhya).

Karnatak

There is no Karnatak raga called Khat or Shat, nor one

which resembles this rare Hindustani raga.

45

KHOKAR

KHAT TODI

Hindustani

Khat Todi belongs to Asavari That. There are two Types

of this raga.

TYPE I

In this type both Suddha and Prati Madhyama are used.

Its jati is Shadava–Shadava. Ri is omitted in aroha. In avaroha

Ni is not used. Aroha and avaroha of this type are :-

स नि - स ग - म प - धू प - नि सं—म . फ् रि . ध् . से . सं .

सें - धू प - मं मं - धू मं - गू रि स.

Svaras used are Komal Ri, Komal Ga, both Suddha and

Prati Ma, Komal Dh and Tivra Ni. Ni is weak (durbal)

even in aroha. Suddha Ma is used in aroha and Prati Ma in

avaroha.

TYPE II

In this type only Suddha Ma is used. Ri, Ga, Dh and Ni

are all Komal. Aroha and avaroha of this type of Khat Todi

are :

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

Strictly speaking this type should be placed under Bhairavi

That.

While singing this type svaras रि ग should be sung as in

Todi to produce the Todi effect. Aroha has Bilaskhani

chaya. Vakra sanchara in avaroha gives Komal Asavari

effect. A composition in raga Khat Todi is :-

Dhet Te Dhe Te Le (Tasana)—Ektal (Vilambit).

Karnatak

There is no Karnatak raga called Khat Todi. In type II of

the Hindustani raga Khat Todi, there is a touch of Karnatak

raga Todi in aroha and of Dhanyasi in avaroha. This combi-

nation is interesting. (See Todi and Dhanyasi).

KHOKAR

Hindustani

This rare raga belongs to Khamaj That (Harikambhoji).

46

RAGANIDHI

Its jati is Shadava-Sampoorna. Ga is not used in aroha. Aroha and avaroha of this raga are :

स ri ग् म प ध नि स्—सं नि ध प्-म प ध नि स.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh, and Komal Ni. There are vakra sancha-ras in both aroha and avaroha. Komal Ni is used in avaroha as in Jayajayanti. In aroha Ni is weak (durbala). Vadi is Ri and Samvadi Pa. In the following sancharas there are chayas of Jayajayanti : प् ध नि ग् ति रि ग् तु रि स नि. प ध-प ध म प

Compositions in raga Khokar are :-

Deva Deva Maha Deva–Ektal (Drut).

Aj Sakhi Ghara Aye–Trital (Madhya)–J. D. Patki.

Karnatak

There is no Karnatak raga called Khokar, nor one which resembles this rare Hindustani raga.

KIRANAVALI

Hindustani

There is no Hindustani raga called Kiranavali, nor one which resembles this Karnatak raga.

Karnatak

Kiranavali is the old name for the 21st Melakarta Kiravani (ri, gi, ma, dha, nu).

Kiranavali is a janya of the 21st Melakarta Kiravani. Its jati is Sampoorna-Shadava. Ni is omitted in avaroha. Aroha and avaroha of Kiranavali are :-

स ri2 रि3 म1 प ध1 नि3 सं—सं ध1 प म1 ग2 रि2 स.

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

According to Hindustani notation the aroha and avaroha are :-

स ri ग् म प ध् नि सं—सं ध् प म ग् ri स.

Kakali Ni and Suddha Ma are the raga chaya svaras. While singing Kiranavali vakra sancharas which are not

47

KIRAVANI

actually indicated in the aroha and avaroha are freely used. They are : — सं ri म स — सं नि प धू प्-म प गू ri स. The following svara groups are frequently used—स स ध प -नि ति म -म स नि धि स - प सं से गू ri स—गुस नि प.

Kiranavali is not a popular raga. The following compositions in Kiranavali are sometimes heard :-

Yeti Yojanalu jesi (Telugu) – Adi Tala–Tyagaraja.

Paraku Neekela Rama (Telugu)–Adi Tala–Tyagaraja.

According to Dikshitar school Kiranavali is a Shadava-Sampoorna raga. In aroha Ga is omitted. The aroha and avaroha are:-

स ri2 म1 प ध1 नि3—सं नि3 ध2 प म1 ग2 रि2 स.

There is a vakra sanchara in aroha. A Composition in this type of Kiranavali is :-

Panchabhutá Kiranavali (Sanskrit)–Khanda Ekatala–Muttuswamy Dikshitar.

KIRAVANI

Hindustani

This Karnatak raga is being popularised in Northern India by instrumentalists chiefly. The Maharashtra stage song " Surasukha Khani Too Vimala " (सुरसुख खनीतू विमलां) from the play "Vidyaharana" is an imitation of the Telugu Kriti "Yaramulosagi Brochuta" in the raga Kiravani.

Kiravani is a Sampoorna-Sampoorna raga. Its aroha and avaroha are :-

स ri ग् म प ध् नि सं—सं नि ध् प म ग् ri स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Komal Dh and Tivra Ni. Vadi is Ri and Samvadi Sa. Time for singing this raga is second prahara of night. Hindustani raga Piloo resembles Kiravani very closely.

Piloo :- Komal Ni and Tivra Ga are used in certain sancharas. Sanchara नि प गू ri सनि स with Dh omitted is used in avaroha. (See Piloo).

48

RAGANIDHI

Compositions in Kiravani are :

Jhumata Ave Mohana—Ektal (Vilambit).

Madhura Muraliya Shyama—Trital (Madhyam).

Karnatak

Kiravani is a popular raga. It is the 21st Melakarta (ri, gi ma, dha, nu). According to Dikshitar school this Melakarta is called Kiranavali. It is a Sampoorna-Sampoorna raga. Aroha and avaroha of Kiravani are :-

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

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma, Suddha Dha and Kakali Ni.

According to Hindustani notation the aroha and avaroha are :-

स रि ग म ध नि स˙—स˙ नि ध प म ग रि स

Chatusruti Ri, Suddha Ma and Kakali Ni are the jeeva svaras of Kirvani.

Popular compositions in Kiravani are :-

Varamulosagi Brochuta (Telugu)—Rupaka Tala —

Patnam Subbrahmanya Iyer.

Kaligiyundina Gada (Telugu) - Adi Tala - Tyagaraja.

KOHAL

Hindustani

Kohal is a rare raga. It belongs to Kafi That (Kharaharapriya). Jati of this raga is Audava-Audava. Ma and Dh are omitted in this raga. Aroha and avaroha of this raga are :-

स रि ग़ - प नि स˙—स˙ नि प ग़ - रि ग़ रि स

Svaras used are Tivra Ri, Komal Ga, and both Komal and Tivra Ni. Tivra Ni is used in aroha. Komal Ni is used in avaroha. Pakad or Gunj an svara groups are :-

प नि म रि स—रि ग़ रि नि धु नि स

Vadi is Ri and Samvadi Pa. Vakra sanchara रि ग़ रि ध give beauty to this raga. This raga is sung during the second prahara of night. A com- position in the raga Kobal is :-

Jogi A Vilamb Rahe -Ektal (Vilambit).

49

KOKILADHVANI

Karnatak

There is no Karnatak raga called Kohal. There is a Karnatak raga called Kohala which has no resemblance to the Hindustani raga Kohal. (See Kohala).

KOKILABHASHINI

Hindustani

There is no Hindustani raga called Kokilabhashini. This rare Karnatak raga has a beauty of its own in the svara groups :-

स रि ग म प —स नि प म ग - ग म रि स

Kokilabbhashini is a janya of the 29th Melakarta Dhira- sankarabharana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bilaval That. Its jati is Sampoorna-Shadava. Dha is omitted in avaroha. There is a vakra sanchara in avaroha:

Aroha and avaroha are :-

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

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

स रि म प ध नि स˙—स˙ नि प म ग म रि स

Absence of Dha and the vakra sanchara ग म धि in avaroha gives a beauty to this raga. The following composition in this raga is available :-

Shri Vidya Modini (Sanskrit)—Triśra Tripuṭa Tala—

Jayachamaraja Wadiyar.

KOKILADHVANI

Hindustani

There is no Hindustani raga called Kokiladhvani. This is a pleasing raga which can be introduced among ragas of Khamaj That. Its aroha and avaroha are :-

स रि ग म ध नि स˙—स˙ ध नि प म ग रि स

50 RAGANIDHI Karnatak

Kokiladhvani is derived from the 28th Melakarta Hārikāmbhoji (ri, gu, ma, dha, ni) which corresponds to Hindustani Khamaj That. Its jāti is Shadava-Sampoorna with vakra svaras in both āroha and avaroha. In āroha Pa is omitted. Āroha and avaroha of Kokiladhvani are :--

स ri2 म1 ग2 नि2 ध2 स॓—स॓ नि2 ध2 प म1 ग2 ri2 स.

Svaras used are Chaturasruti Ri, Antara Ga, Suddha Ma, Chaturasruti Dha and Kaisiki Ni. According to Hindustani notation the āroha and avaroha are :

स ri ग म प ध॓—स॓ ध प म ग ri ग ri स.

Kokiladhvani is not a popular raga. The following compositions in this raga however are often heard.

Koniyadedu Nayeda (Telugu)—Adi Tala—Tyagaraja.

Toli Nenu Jesina (Telugu) - Adi Tala - Tyagaraja.

KOKILA PANCHAM

Hindustani

Kokila Pancham belongs to Asavari That (Natabhairavi). Some put it under Bhairavi That (Hanumatodi). Its jāti is Audava - Audava. Ri and Ni are not used in this raga. Āroha and avaroha of this raga are :--

नि

स·ग·म·प·ध ऽस॓—स॓ ध ऽ·मप ध·मप·ग·सग ऽS ऽस॓—

प ध ऽ·ग.

Svaras used are Komal Ga, Komal Dha, and Komal or Suddha Ma. Dha is given a grace note of Komal Ni occasionally. Pakad or Gunjan svara groups are :

स ग ऽS ऽम ऽप·ध ऽS ऽ—मपध ऽS· ध ऽपमपम ऽ·

ग S ऽस.

Vadi is Dha and Samvadi Ga. Some suggest Pa and Sa as Vadi and Samvadi. Uttarang sounds like Asavari. Svaragroup स ग ऽS ऽम ऽS ऽ sounds like Malkosh.

51 KOKILA PANCHAM

The svara group स म S · ध ऽS ऽ with andolan on Dha sounds beautiful.

This raga is sung in the morning. It is a very pleasing raga.

But it is not very popular. Compositions in this raga are :--

Dheere Jhulavo Shyama Hindole-- Trital (Madhyalaya) --J. D. Patki

Jago Ho Mera Jagat Ujare--Trital (Madhyalaya) --M. P. Rasik.

Hindustani raga Koushi Kanada and Pancham Malakosh have resemblance to Kokila Pancham.

Koushi Kanada (Asavari That)--Ni is used in āroha and avaroha. Ri is used in āvarroha. (See Koushi Kanada).

Pancham Malakosh:--Pa is not used in āroha. Ni is used in āroha and avaroha. (See Pancham Malakosh.)

There is a raga called Kokila Panchami which belongs to Todi That. It uses only Prati Ma. Its āroha and avaroha are:--

स ri ग प ध नि स॓—स॓ नि प म ग ri स

Karnatak

Karnatak raga Kokila Panchama has no resemblance to Hindustani raga of the same name.

Kokila Panchama is derived from the 39th Melakarta Jhalavarali (ra, ga, mi, dha, nu). Jāti of Kokila Panchama is Shadava-Sampoorna. Ma is ommitted in āroha. Āroha and avaroha of Kokila Panchama are :--

स ग ri1 स र प ध2 नि2 स॓ or स ri1 नि1 प ग1 ध2—स॓ ध2 ग1 प

म2 ग1 ri1 स.

Svaras used are Suddha Ri, Suddha Ga, Prati Ma, Suddha Dha and Kakali Ni. According to Hindustani notation the āroha and avaroha are :--

स ri स र प ध नि स॓ or स ri स प धु नि स॓—स॓ नि प म ri स ri स.

Tivra Ri (ri़) stands for Suddha Ga of South. Ga is the jecva svara of this raga. A composition in this raga is :--

Nadarupinim Vandeham (Sanskrit)--Adi Tala--

Jayachamaraja Wadiyar.

52

RAGANIDHI

Aroha and avaroha given in some books are :-

य ध1 नि1 सं रि1 ग म1 रि1—सं नि3 ध1 प ध1 नि1 सं

In the above aroha and avaroha Ma is completely omitted.

Sanchara also becomes restricted.

Karnatak raga Prabhupriya which is a janya of the 8th

Melakarta Hanumatodi (Bhairavi That of Hindustani) resembles

Kokila Pancham of Hindustani sangeet very closely. Aroha

and avaroha of Prabhupriya are :-

स रि2 प ध2 सं—सं ध प म ग रि2 स

(See Prabhupriya)

Kannada (Natabhairavi Mela janya)

those of Kokila Pancham of Hindustani in aroha. In avaroha

Ni is used. Pa is not used. Its aroha and avaroha are :-

स ग2 म प ध2 सं—सं नि2 ध म ग2 स

(See Kannada)

KOKILAPRIYA

Hindustani

There is no Hindustani raga called Kokilapriya. Kokila-

priya That is obtained by combining poorvanga of Bhairavi and

uttaranga of Bilaval Thats. Aroha and avaroha of such a

combination will be :-

स रि2 ग2 प ध2 सं—सं नि3 ध प म ग2 रि2 स.

Karnatak

Kokilapriya is Karnatak Melakarta No. 11 (ra, gi, ma, dhi,

nu). It is a Sampoorna-Sampoorna raga. According to Dikshitar

school this Melakarta is called Kokilaravarnu. Aroha and

avarohá of Kokilapriya are :-

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

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

Chatushruti Dh and Kakali Ni.

According to Hindustani notation the aroha and avaroha

53

KOKILAVARALI

स रि2 ग2 म प ध नि3 सं—सं नि3 ध प म ग2 रि2 स.

Kokilapriya is not a popular raga. The following composi-

tions in this raga are available :

Neekabhimanamu Leda (Telugu)—Adi Tala—Mysore,

B. Vasudevachar.

Tamasa Memi (Telugu)—Adi Tala—

Tiruvottiyur Tyagaraja.

KOKILARAVA

Hindustani

There is no Hindustani raga called Kokilarava, nor one

which resembles this Karnatak raga.

Karnatak

Kokilarava is the old name for the 11th Melakarta Kokila-

priya (ra, gi, ma, dhi, nu).

Raga Kokilarava is the janya of the 11th Melakarta Kokila-

priya. Its jati is Shadava-Sampoorna. In aroha Ga is omitted

and there is a vakra sanchara in aroha. Its aroha and avaroha

are :

स रि1 म1 प ध2 नि3 सं—सं नि3 ध2 प म1 ग2 रि1 स.

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

Chatushruti Dh and Kakali Ni. According to Hindustani

notation the aroha and avaroha are :

स रि म प ध नि सं—सं नि ध प म ग रि स.

A composition in Kokilarava is—

Kodanda Rama Manisham (Sanskrit) -Adi Tala—

Muttuswamy Dikshitar.

KOKILAVARALI

Hindustani

There is no Hindustani raga called Kokilavarali. It is an

interesting raga which can be absorbed into Hindustani Sangeet

among ragas of Asavari That.

Karnatak

Kokilavarali is derived from the 20th Melakarta Nata-

54

RAGANIDHI

bhairavi (ri, gi, ma, dha, ni) which corresponds to Hindustani Asavari That. Its jati is Sampoorna-Sampoorna. Aroha and avaroha of Kokilavarali are :-

स ri2 ग2 म1 प ध1 नि2 स or स ri2 नि2 ग2 म1 प ध1 नि2 ध1 स—स नि2 ध1 नि2 प म1 ग2 ri2 स or स ध1 नि2 ध1 प म1 ग2 ri2 स.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma, Chatusruti Dha and Kaisiki Ni. According to Hindustani notation, aroha and avaroha of Kokilavarali are :

स ri ग म प धु नि स or स ri नि ग म प धु नि धु स—स नि धु नि प म ग ri धु स or स नि धु नि प म ri ग ri धु स

Kokilavarali is not a popular raga. The following composition in Kokilavarali is available :-

Samukhamuna Nilva—(Telugu)—Deshadi Tala—Tyagaraja.

KOLAHALA

Hindustani

There is no Hindustani raga called Kolahala. There is a raga called Kolahas which has no resemblance to this Karnatak raga. (See Kolahas). Kolahala sounds like Bilaval with Ri omitted in aroha and vakra sanchara स ग म ग introduced in avaroha.

Karnatak

Kolahala is a janya of the 29th Melakarta Dheerashankara-bharana (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of Hindustani. Its jati is Shadava-Sampoorna. Ri is omitted in aroha. There is a vakra sanchara in aroha. Aroha and avaroha are :

स प म1 ग3 म1 प ध3 नि3 स—स नि3 ध3 प म1 ग3 ri2 स.

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

स प म ग म प ध नि स—स नि ध प म ग म ri स

Vakra sanchara स ग म gives Kolahala a distinguishing

55

KOMAL ASAVARI

touch. This is a rare raga. Compositions in this raga are :--Madilona Yochana (Telugu)—Adi Tala—Tyagaraja. Neerajaksha Mam Pali (Sanskrit)—Adi Tala—C. Rangiah.

KOLAHAS

Hindustani

Kolahas is a rare raga. It belongs to Kafi That (Kharapriya). Its jati is Shadava-Shadava. Ma is omitted in both aroha and avaroha. Aroha and avaroha are :

स ri गू प धु नि स—स नि धू प गू ri स.

Svaras used are Tivra Ri, Komal Ga, Tivra Dha and Komal Ni. Pakad or "raga vachak" svara groups are :-

गू ri ग प - धु - प गू ri स,

Vadi is Pa and Samvadi Sa. This raga is sung during the fourth prahara of the day. A composition in raga Kolahas is :--Barajori Na Pakar Shyama – Trital (Madhya)—Yeshwant Bhat.

Karnatak

There is no Karnatak raga called Kolahas. There is a raga called Kolahala. But it does not resemble Hindustani raga Kolahas. (See Kolahala). There is no Karnatak raga which resembles Kolahas.

KOMAL ASAVARI

Hindustani

Komal Asavari belongs to Asavari That (Natabhairavi). Its jati is Audava-Sampoorna. Ga and Ni are not used in aroha. Aroha and avaroha of Komal Asavari are.

स ri म प धु स—स नि धु प म प धु म प गू ri स

or स नि धु म गू ri स ri स.

Svaras used are Komal Ri, Komal Ga, Suddha Ma, Komal Dha and Komal Ni. As all svaras are Komal this raga should

56

RAGANIDHI

be put under Bhairavi That (Hanumatodi). But use of Komal Ri is a recent innovation with the object of giving Asavari an independent svaroop as, with Tivra Ri, it was difficult to distinguish between Asavari and Jeevanpuri. Even with Komal Ri the Asavari anga is kept prominent. Hence this raga is put under Asavari That.

Pakad or diagnostic svara groups are, हि म प धी प म गि रि स. Vadi is Dh and Samvadi Ga. Sangatis ग म and प ध are employed frequently. Komal Asavari is a morning raga. Compositions in this raga are :

Kagawa Bol---Jhumra Tal (Vilambit).

Badhaiyya Lavo--Teen Tal--(Drut).

Hindustani ragas Jogia and Gandhari Todi resemble Komal Asavari.

Jogia--Ga is either totally left out or even when used in aroha Tivra Ga is used. Svaragroup प ध नि is used. (See Jogia).

Gandhari Todi--Ni (Komal) is used in aroha. No vakra sanchara in avaroha. (See Gandhari Todi).

Karnatak

There is no Karnatak raga called Komal Asavari. Karnatak raga Aseverī (आसावरी) derived from 8th Melakarta Hanuma-todi (Bhairavi That) resembles the Hindustani raga Komal Asavari. Aroha and avaroha of Karnatak raga Aseverī (आसावरी) are,

स रि म प धू सं—सं नि सं प धू म प धि स.

(See Aseverī).

KOMAL BAGESHREE

Hindustani

Peculiarity in this type of raga Bageshree is that both Komal and Tivra Ri and only Komal Dh are used. Komal Ri is used in avaroha as म गि रि स occasionally. Aroha and avaroha of this raga are :-

स ग म ध सं—नि सं—नि सं धि प म ग म—गि रि—गि स.

Svaras used are both Komal and Tivra Ri, Komal Ga,

57

KOMAL DESI

Suddha Ma, Komal Dh and Komal Ni. Sangati ग म is frequently used. This prevents the chaya of Bhairavi creeping in. Svaragroups हि रि स म धू स are alo used. There is a chaya of Kousi Kanada in avaroha. The following compositions are available in this raga :-

Aye Alasta Bhaye--Choutal.

Kaise Tum Ho Moorakha--Dhamar.

Karnatak

There is no raga called Komal Bageshree in Karnatak sangeet nor one which resembles this Hindustani raga.

KOMAL BHAIRAV

Hindustani

This is a rare raga. It belongs to Bhairav That (Mayamalavagaula). Its jati is Sampoorna-Sampoorna. Aroha and avaroha are :-

स रि ग म प धू—सं नि ध प म गि रि स.

Svaras are Komal Ri, Atikomal Ga (ग) having the vibration value 284-4/9, Suddha Ma, Komal Dh, and Tivra Ni. This is a morning raga. A composition in this raga is,

Kalab Kaise Ke Pare--Choutal.

Karnatak

There is no Karnatak raga called Komal Bhairav. Raga Ganamoorthi which is the 3rd Karnatak Melakarta (ra, ga, ma, dha, nu) resembles Hindustani raga Komal Bhairav.

Atikomal Ga (ग) used in Komal Bhairav corresponds to the svara Ga which is produded by Veena:players of South India while playing Karnatak raga Todi, by pulling the wire from fret No 1 of Veena (Suddha Ri). This Ga is slightly lower than Komal Ga of North and Sadharana Ga of South.

KOMAL DESI

Hindustani

Komal Desi belongs to Asavari That (Natabhairavi). Its jati is Shadava-Sampoorna. In aroha Ga is omitted. Aroha

58

RAGANIDHI

and avaroha of Komal Desi are :-

स ri म प धु नि सं - सं नि धु म प धु प - ग - ri - स.

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

In Hindustani sangeet there are some examples like Komal Desi in which instead of the important svara its vikriti is used.

giving rise to a new raga. Such examples are Komal Asavari, Komal Bageshree, Komal Babar, Komal Basant etc.

Komal Desi is sung like raga Desi or Deshi. In avaroha Komal Ri is used as is done in Komal Asavari. A composition

in raga Komal Desi is :

Gokula Dbooma Machayi—Dhamar (Vilambit).

Karnatak

There is no Karnatak raga called Komal Desi, nor one which resembles this Hindustani raga.

KOMAL DHANASHREE

Hindustani

Komal Dhanashree belongs to Bhairavi That (Hanuma-todi). Its jati is Audava-Sampoorna. In aroha Pa and Dh are omitted. Aroha and avaroha are :

नि स ग म - प धु सं - स नि धु प - म प धु ri स.

Svaras used are all Komal svaras. Vadi is Pa and Samvadi Sa. This raga is sung in the morning. Chalan of Komal Dhanashree is as under :-

नि स ग म प - प धु सं - म प - ग ri स - ri नि - स-म प - ग ri प - नि धु प - प धु प - ग - म प - ग ri - नि स ।

प प धु प - ग - म प - ग ri - नि सैं - प धु सं - प धु प - ग म प - ग ri स ।

Komal Dhanashree represents Dhanashree of Kafi That (Kharaharapriya) in which Tivra svaras have been replaced by Komal svaras. (See Dhanashree).

Komal Dhanashree is not popular. Interest regarding this raga lies in that the Karnatak raga Dhanyasi or Dhanashree

59

KOMAL RAMKALI

resembles it very closely. (See Dhanyasi or Dhanashree). Hindustani raga Takka resembles Komal Dhanshree.

Takka - Ma is not used at all in avaroha. In Komal Dhanashree in avaroha Ma is used in a vakra fashion. (See Takka).

Karnatak

There is no Karnatak raga called Komal Dhanashree. Raga Dhanasari or Dhanyasi which is a janya of 8th Melakarta Hanumatodi (Bhairavi That) resembles Hindustani ragas Komal Dhanashree and Takka very closely. Aroha and avaroha of Dhanyasi of South are as under.

स ग म प धु नि - स नि धु प म ग ri स or म ग प धु नि स.

(Sce Dhanyasi or Dhanasari).

KOMAL RAMKALI

Hindustani

Komal Ramkali is Ramkali in which Komal Ga and Komal Ni are used occasionally. If Komal Ga is used very often then it will sound like a kind of Todi. A new kind of Todi called Ram Todi can be created. In Komal Ramkali use of Komal Ga and Komal Ni should be noted carefully. When Komal Ni is used Pa which precedes Ga is given a grace note

or "Kan" of Prati Ma as प 5 ग. Chalan of Komal Ramkali is as under :-

प ri ग - ri ग म - प 5 धु - प - प धु नि - ग म - ग ri प-

धु म - सं प धु - नि ri स ।

प 5 ग - नि धु प - ग म - प 5 धु - सं ri सैं - सं ri सैं - ग प 5 ग ri - नि धु प सं

नि म प - ग ri - सं ri सैं - ग ri स ।

Komal Ramkali is not commonly heard. A composition in this raga is,

Morawa Tu More—Choutal (Vilambit).

Karnatak

There is no Karnatak raga called Komal Ramkali, nor one which resembles this Hindustani raga.

60

RAGANIDHI

KOSALA

Hindustani

There is no Hindustani raga called Kosala, nor one which resembles this rare Karnatak raga.

Karnatak

Raga Kosala is the 71st Melakarta (ru, gu, mi, dhi, nu). Old name of this Melakarta is Kusumakara. Aroha and avaroha of this Sampoorna-Sampoorna raga are :

स रि2 म2 प ध2 नि3 सं—स नि3 ध2 प म2 रि2 स .

Svaras used ure Shatshruti Ri, Antara Ga, Prati Ma, Chatu- sruti Dha and Kakali Ni. Aroha and avaroha of Kosala according to Hindustani notation are :-

स र ग म प ध नि सं—सं नि ध प म ग र स.

Komal Ga (ग) represents Shatshruti Ri of Karnatak sangeet.

Compositions in this raga are,

Kusumakara Shri (Sanskrit)--Trisra Eka Tala-- Muttuswamy Dikshitar.

Ka Krigha (Tamil)--Rupaka Tala--Kotiswara Iyer.

KOUSHI BHAIRAV

Hindustani

This is a rare raga and a raga which is difficult to render. This raga is a mixture of the two ragas Kousi and Bhairav. Jati of Koushi Bhairav is Shadava-Sampoorna. In aroha Ri is not used. Aroha and avaroha are :

नि रि

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

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

Koushi or Bageshree anga is scen in uttaranga. Bhairav anga is seen in poorvanga in avaroha. Svara group प ध नि स म

61

KOUSHI KANADA OR KOUSHIK KANADA

sounds like Bageshree. But Dh is Komal and not Tivra as in Bageshree.

This is a morning raga. It is rarely heard. The following composition in this raga is available :-

Hariki Gati Natu--Trital (Madhya).

Karnatak

There is no raga called Koushi Bhairav nor one which resembles this Hindustani raga.

KOUSHI KANADA or KOUSHIK KANADA

(ASAVARI THAT)

Hindustani

Koushi Kanada or Kcushik Kanada is different from two ragas called Koushi and Kousi Kanada. Koushi Kanada or Koushik Kanada is of two types, belonging to Asavari and Kafi Thats respectively.

Koushi Kanada belonging to Asavari That is a Shadava- Sampoorna raga. In aroha Ri is not used. Aroha and avaroha of this raga are :-

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

म प ध म ग रि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Komal Dha and Komal Ni. Vadi is Ma. Samvadi is Ga. This raga is sung in the night. This type of Koushi Kanada is a mixture of Bageshree, Bhimpalas, and Malikosh. Angas of these ragas are found as under :-

Bageshree—नि स म - म स

Bhimpalas—ग प स म ग रि स .

Malkosh—म प नि सं—नि ध प म.

It should be remembered that in this type of Koushi Kanada Db is Komal. In poorvanga mixture of Bageshree and Bhimpalas is found. In uttaranga mixture of Malikosh and Bageshree is found. This is a very pleasing raga. Compositions in Koushi Kanada (Asavari That) are :-

Kirpa Kare Jogi Da--Ektal (Vilambit).

Rajanke Siratha--Tilvada (Vilambit).

62 RAGANIDHI

Hindustani raga Pancham Malkosh resembles Koushi Kanada of Asavari That.

Pancham Malkosh :-Ri is not used. Pa is used in avaroha only. (See Pancham Malkosh).

Karnatak

There is no Karnatak raga called Koushi Kanada. Karnatak ragas Kanaka Vasantha, Hindola Vasantha and Saramati resemble Koushi Kanada of Asavari That with certain differences. All the three ragas are derived from 20th Melakarta Natabhairavi (Asavari That).

Kanaka Vasantha-Its aroha and avaroha are :-

स गू म प - नि ध प स—सं धू प म धू प म गू रि स.

(See Kanaka Vasantha).

Hindola Vasantha —Ri is not used in either aroha or avaroha. Its aroha and avaroha are :

स गू म प धू नि धू स—सं धू प म धू प म गू स.

(See Hindola Vasantha)

Saramati–Ri is used in aroha but not in avaroha. Pa is used in only aroha. Aroha and avaroha are :

स रे ग म प धू नि स—सं धू प म गू रि स.

(See Saramati).

KOUSHI KANADA

(KAFI THAT)

Hindustani

Koushi Kanada belonging to Kafi That (Kharaharapriya) is more popular than the one which belongs to Asavari That (Natabhairavi). This type is a mixture of Bageshree and Kanada ragas. Its jati is Shadava-Sampoorna. Ri is durbal or weak in aroha. Aroha and avaroha are :-

रे नि सां ग म प - ध नि प - ध नि—सं ध प - म गू - रे स.

नि प - म प - गू म - रे स.

There are vakra sancharias in both aroha and avaroha. Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh

63 KSHANIKA

and Komal Ni. Use of Tivra Dh only in this raga should be remembered.

Vadi is Ma and Samvadi Sa. The following svara groups are characteristic of Koushi Kanada of Kafi That.

धि प - म प नि - म प गू म - प गू - गू - नि धि स - म ध नि ध प -

ग म ध - नि ध प - गू म प - गू म - धि स.

This raga is sung between 9 p.m. and midnight. A composition in Koushi Kanada of Kafi That is :-

Udho Tum Jay--Teen Tal (Drut.).

Hindustani ragas Shahana Kanada, Huseni Kanada and Kafi Kanada, resemble Koushi Kanada of Kafi That.

Shahana Kanada-Aroha ends with नि ध प - ध म प धै (See Shahana Kanada).

Kafi Kanada-Aroha ends with नि ध प - म प सै (See Kafi Kanada).

Huseni Kanada–Ni is not used in aroha. (See Huseni Kanada).

Karnatak

Karnatak raga Kanada which is a janya of 22nd Melakarta Kharaharapriya (Kafi That) resembles Koushi Kanada of Kafi That. Karnatak raga Kanada bas the following aroha and avaroha.

स रि गू म प धू नि स—सं धू प म प धू नि प म गू रि स स - नि स.

(See Kanada).

KSHANIKA

Hindustani

This is a new raga which can be put under Bhairav That. Its jati is Audava-Audava. Ga and Pa are not used in this raga. Aroha and avaroha of Kshanika are :

स - म - धि - प नि धू स—सं धू - प धि - म धि स - धि नि धू स.

Svaras used are Komal Ri, Suddha Ma, Komal Dh and Tivra Ni. In this raga chayas of ragas Jogia and Gunakree are found. There are vakra sancharias in both aroha and avaroha. These give a special beauty to this raga. A composition in Kshatika is :-

64

RAGANIDHI

Shivani Dayani Bhavani-Ektaf (Vilambit)-Kshanika.

Balaram Roy.

Hindustani ragas Jogia and Gunakree resemble raga Kshanika.

Jogia-Pa is used. Ga is also used by certain musicians. Sometimes Komal Ni is used (See Jogia).

Gunakree-Ga and Ni are not used. (See Gunakree).

Karnatak

There is no Karnatak raga called Kshanika. Ragas Malahari, Padi and Saveri are allied to Kshanika.

Malahari-Pa is used in both aroha and avaroha. Ni is not used in either aroha or avaroha. Ga is used in aroha. (See Malahari).

Padi-Pa is used in both aroha and avaroha. Ni is not used in aroha. (See Padi).

Saveri-Ni is used in aroha. Pa is used in both aroha and avaroha. Ga is used in avaroha. (See Saveri).

KUKUBH BILAVAL

Hindustani

Kukubh Bilaval belongs to Bilaval That (Dheerasankarabharana). Many are of the opinion that it is a mixture of Alaiyya Bilaval and Jayajayavanti ragas. Some think that it is a mixture of Alaiyya Bilaval and Jinjoti. Different musicologists have suggested different aroha and avaroha for Kukubh Bilaval.

TYPE I

Shadava-Sampoorna jati with vakra sanchras in avaroha. Ri is omitted in aroha. Aroha and avaroha are :

स ग म प ध नि सं–स ध प–ध नि ध प–ध म रि स–न म

TYPE II

Shadava-Sampoorna jati. Ma is omitted in aroha. There

65

KUKUBH BILAVAL

is vakra sanchara in avaroha. Aroha and avaroha are:-

स रि ग प नि सं–सं नि ध प म ध–स स रि–स

Pakad svara groups of this type are,

न ध–न प म ग रि स–रे

TYPE :II

Sampoorna-Sampoorna jati with vakra sanchara in both aroha and avaroha. Aroha and avaroha are:-

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

नि ध नि सं–ध नि ध प–ध स नि–रि प म ध–न ग म स.

Svaras used in this raga are all Suddha svaras of Hindustani with Komal Ni used sparingly as in Alaiyya Bilaval. In all types vadi is Pa and samvadi Sa. Some suggest Pa and Ri as vadi and samvadi. Ri is however an important svara particularly where chhaya of Jayajayavanti has to be given. It is kept isolated at the end of svara groups म ग रि स–म ग रि स–

ध नि सं s. This raga is sung in the morning. Although this raga has chhaya of Jayajayavanti still Komal Ga, which is so important in Jayajayavanti, is not used in Kukubh Bilaval.

Svara groups ध प–ग म रि स–स ध नि प ग suggest Jayajayavanti.

In the use of Komal Ni in this raga it should be remembered that it. should be used as in Bilaval and not as in Khamaj. In Jayajayavanti, Komal Ni is used as in Khamaj.

The following svara groups which are used frequently in Kukubh Bilaval give a chhaya of Tilak Kamod. But at the end of these, svara Ri is kept elongated which at once dispels the Tilak Kamod effect.

स–रि प ध प म ग रि स–रे.

Sangatis रि ग, ग प, and ध प are used frequently. Sanchara of Kukubh Bilaval is as under -

स रि–ग प ग स–म ग रि स–रे स–न ध प–म प–म स–न धि सं–रि ग रि स !

प स–नि धि सं–स सं–स सं–स ध नि प प–न ग म–प स–म प–रि स–स स–रे स–म स–प स !

66

RAGANIDHI

Kukubh Bilaval is a difficult raga to render. It is a morning raga. Compositions in Kukubh Bilaval are :-

Kako Bhajana Bina—Jhaptai (Madhya).

Teri Milanda Chave—Jhaptai (Madhya).

Karnatak

There is no Karnatak raga called Kukubh Bilaval nor one which resembles, this Hindustani raga.

KHAMBAVATI KHAMAJ

Hindustani

We owe this raga to Master Manhar Barve. It belongs to Khamaj That (Harikambhoji). It is a mixture of Khambavati and Khamaj ragas. In aroha it has Khambavati anga and of Khamaj in avaroha. Its jati is Shadava-Sampoorna. In aroha Ga and Ni are not used. Aroha and avaroha are :-

स ri - म प ध - स - नि सं - धि - प म or ri ग स

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

Aroha is completely like Khambavati. In avaroha svara groups सं - नि सं धि प म ग suggest Khamaj. The svara group म प म स with which the raga ends sounds peculiar and gives an individuality to Khambavati Khamaj. Svara group ri म प स is also used instead of म प म स. These svara groups remind us of the group स म स with which the avaroha of Khambavati ends. This raga is sung during the second prahara of night. A composition in this raga is :-

Radha Ne Mori Bansi — Trital (Madhya)

—Manhar Barve.

Karnatak

There is no raga called Khambavati Khamaj. Karnatak raga Balahamsa has some resemblance to Khambavati Khamaj. Arohas are similar. Avaroba of Balahamsa is सं नि ध प म नि म - ग ri स (See Balahamsa).

67

KUMBHINI

KHAMMAJEE KANADA

Hindustani

Khammajee Kanada is a mixture of Khamaj and Kanada ragas. Its jati is Shadaya-Sampoorna. Ri is not used in aroha. Aroha and avaroha are :-

स ग - म प - नि सं - ध नि प - ग ri स.

Khamaj anga is prominent in aroha and Kanada anga in avaroha. Svara groups ग म ध नि सं ध नि प indicate Khamaj and ध नि प ग ri स produce Kanada effect. A composition in this rare raga is :-

Mai Jab Dekhee Gopal Lala—Choutal.

Karnatak

There is no raga called Khammajeo Kanada. There is no allied raga.

KUMBHINI

Hindustani

There is no Hindustani raga called Kumbhini, nor one which resembles this rare Karnatak raga.

Karnatak

Kumbhini is the old name for the 41 st Melakarta Pavani (ra, ga, mi, dhi, nu) Janya raga Kumbhini belongs to the 41st Melakarta Pavani. Its jati is Sampoorna-Shadava with vakra sancharas in aroha. In avaroha Dh is omitted. Aroha and avaroha of Kumbhini are :-

स ग ri ग म प ध नि2 ध2 नि3 सं-ध नि3. स ध2 नि3 प ध2 ग1 ri स.

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

स ri नि ते म प नि ध ri स—स नि प म ध ri नि स.

In the above Tivra Ri (ri) represents Suddha Ga of Karnatak system. A composition in Kumbhini is :-

Sachidananda Maya (Sanskrit) —Adi Tala —

—Muttuswamy Dikshitar.

68

RAGANIDHI

KUMUD

Raga Kumud belongs to Bilaval That (Dheerasankarabharana). Its jati is Shadava--Shadava. Ma is omitted in this raga. Its Aroha and avaroha are :-

स - रि म प - ध नि सं - सं नि ध प म रि स.

Svaras used are all Suddha svaras of Hindustani sangeet. Vadi is Ga and Samvadi Ni. This raga is sung during the second prahara of night. Its aroha sounds like Alaiyya Bi-laval while the avaroha has chaya of Suddha Kalyan. This raga is not a familiar one.

Ragas Shankara and Hamsadhvani are allied to raga Kumud.

Shankara--In aroha Ri is not used. Dh is used in vakra sanchara as धि ध सं नि in aroha and not used at all in avaroha.

(See Shankara)

Hamsadhvani--Dh is not used. (See Hamsadhvani).

Karnatak

There is no raga called Kumud in Karnatak sangeet. Kumud is obtained by including Chatsruti Dh in both aroha and avaroha of raga Hamsadhvani. Aroha and avaroha of Hamsadhvani are :-

स रि ग प ध नि सं - सं नि ध प ग रि स.

Aroha and avaroha of Kumud are :-

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

KUMUDAKRIYA

Hindustani

There is no Hindustani raga called Kumudakriya. This is an interesting raga which can be included among ragas of Poorvi That. Aroha and avaroha of Kumudakriya are :-

स रि ग म सं - सं नि धु म ग रि स

69

KUNTHALA

Karnatak

Kumudakriya is a janya of the 51st Melakarta Kaivardhini (ri, gu, mi, dha, nu) which corresponds to Hindustani Poorvi That. Its jati is Audava--Shadava. Pa and Ni are omitted in aroha. In avaroha Pa is not used. Aroha and avaroha are :-

स रि ग म ध सं - सं नि म3 ग1 म2 म3 नि1 स.

Svaras used are Suddha Ri, Antara Ga, Prati Ma, Suddha Dha and Kakali Ni. According to Hindustani notation they are :-

The following special sancharas are found in this raga :-

सं नि धु सं - सं नि धु सं - सं ग म ग रि स

While singing this raga care should be taken to avoid Sadharana Ga (ग) and Chatsruti Dh (Tivra ध). A composition in this 'raga is,

Ardhanarishvaram Aradhayami (Sanskrit)

--Rupaka Tala--Muttuswamy Dikshitar.

KUNTHALA

Hindustani

There is no Hindustani raga called Kunthala. One type of Ahir Bhairav having the following aroha and avaroha resembles Karnatak raga Kunthala

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

(See Ahir Bhairav).

Karnatak

Kunthala is the old name for the 61st Melakarta Kanta-mani (ri, gu, mi, dha, na). There are two janya ragas called Kunthala derived from two different melakartas. They are : (1) Chakravaka janya and (2) Kaothamani janya.

KUNTHALA (Chakravaka janya).

One raga Kunthala is derived from the 16th Melakarta

70 RAGANIDHI 71

Chakravaka (ra, gu, ma, dha, ni). Its jati is Sampoorna-Sampoorna with vakra sancharas in aroha and avaroha are :

स रि1 म3 म1 प ध2 नि2 सं–स ध2 नि2 प म1 म ग रि1 स

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

स रि ग म,प ध नि2 सं–सं ध नि2 प म ग म ध रि स

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

Mati Matiki Nee Namame (Telugu) – Adi Tala

–Tiruvottiyur Tyagaraja.

KUNTHALA (Kanthamani Janya)

Second type of Kunthala is a janya of the 61st Melakarta Kanthamani (ri, gu, mi, dha, na). Its jati is Shadava-Sampoorna. In aroha Ni is omitted. Aroha and avaroha are :-

स रि2 म3 प ध2 सं–सं ध1 ध2 प म2 ग रि2 स

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

स रि ग म प ध सं–सं ध प म ग म ध रि स

In the above Tivra Db (ध) represents Suddha Ni of Karnatak system.

A composition in this type of Kunthala is,

Shri Sugandhi Kunthalambika (Sanskrit)–Trisra Eka Tala–Muttuswamy Dikshitar.

KUNTHALAVARALI

Svaras used are Tivra Dha, Suddha Ma, Komal Ni and Tivra Ni. One peculiarity which should be remembered is that, unlike the use of Tivra Ni in aroha and Komal Ni in avaroha in Hindustani ragas, in Kunthalavarali Komal Ni is used in aroha and Tivra Ni in avaroha (In the Karnatak raga only Komal Ni is used in both aroha and avaroha). Pakad or Gunjan svara groups are :– म ग – प ध नि2 सं – नि2 ध प म. Vadi is Ma and Samvadi Sa. This raga is sung during the second prahara of night. This raga has yet to gain popularity among vocalists. Only gats in this raga are played by instrumentalists.

If only Komal Ni is used in both aroha and avaroha then it will resemble the Karnatak raga Kunthalavarali. In Karnatak raga, Tivra Ni is not used.

Hindustani raga Khambavati resembles Kunthalavarali to some extent.

Khambavati–In aroha Ni is not used but Ri is used. In avaroha Ga is used as ग म ड (See Khambavati).

Karatal

Kunthalavarali is a janya of the 28th Melakarta Hari-kambhoji (ri, gu, ma, dha, ni) which corresponds to Hindustani Khamaj That. Jati of Kunthalavarali is Audava-Audava. Ri and Ga are completely omitted. Aroha and avaroha are:-

स म1 प ध2 नि2 सं–सं नि2 ध3 प म1 स

Svaras used are Suddha Ma, Chatusruti Dha, and Kaisiki Ni. According to Hindustani notation the aroha and avaroha of Kunthalavarali are :-

स म प ध नि सं–सं नि ध प म स

There is a vakra sanchara in aroha. This is a very pleasing raga. The following compositions in Kunthalavarali are very popular

Shara Shara Samarai (Telugu)–Adi Tala–Tyagaraja. Kalinarulaku Mahimalu (Telugu) -- Adi Tala

–Tyagaraja.

KUNTHALAVARALI

Hindustani

Kunthalavarali which is a popular Karnatak raga is finding its way into Hindustani sangeet. But it is slightly modified as will be seen later. Kunthalavarali is put under Khamaj That (Harikambhoji). Its jati is Audava-Audava. Ri and Ga are omitted in this raga. Aroha and avaroha of this raga are:-

स म प – ध नि सं–सं नि – ध प – म स – स

72

RAGANIDHI

KURANJI

Hindustani

There is no Hindustani raga called Kuranji. This Karnatak raga has resemblance to some varieties of Bilaval.

Karnatak

Kuranji is a janya of the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of Hindustani. Kuranji is a Nishdantya or Nishada-Dhaivata madhya raga. Its aroha and avaroha are :-

स ऩि3 स ऩि3 म1 प ध2–णि3 व म1 प ध2 स ऩि3 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 स ध नि प --ध प म ग रि स नि स.

Kuranji is sung in Madhyama shruti and hence has a peculiar charm. The following compositions in this raga are very popular.

Shree Venugopala (Sanskrit) - Misra Chapu

.. Muttuswamy Dikshitar

Shiva Deeksha Paru Talanu (Telugu) - Adi Tala

-- Ghanam Seemayya.

According to Dikshitar school, it is not a Nishadantya raga. Its jati is Sampoorna-Sampoorna with vakra sanchara in both aroha and avaroha as under.

स ऩि3 ण1 ग3 म1 प ध2 ऩि3 S सं—स ऩि3 प ऩि3 ध3 ण2 व म1 ण3

ति स.

KUSUMARANJANI

Hindustani

Kusumaranjani belongs to Poorvi That (Kamavardhini).

73

KUTHUHALA

Its jati is Shadava-Sampoorna. Ga is not used in aroha. Aroha and avaroha of Kusumaranjani are :-

स रि मं प धु नि सं -- सं नि धु नि प मं ग रि स.

There is vakra sanchara in avaroha. Svaras used are Komal Ri, Tivra Ga, Prati Ma, Komal Dh and Tivra Ni. Pakad or Gunjan svara groups are:-

नि रि मं प -- नि धु नि ध प -- मं ग रि स.

Vadi is Pa and Samvadi Sa. This raga is sung during the second prahara of night. It is sung with Shree anga. A composition in this raga is :-

Ruma Jhuma Payala Bajc-Trital.

Raga Shree resembles Kusumaranjani.

Shree-In aroha Dh is not used. (See Shree).

Karnatak

Karnatak raga Gaulipantu has some resemblance to Kusumaranjani. In Gaulipantu, in aroha Dh is not used.

(See Gaulipantu).

KUTHUHALA

Hindustani

There is no Hindustani raga called Kuthuhala. It can be included among Hindustani ragas belonging to Bilaval That. The aroha of this raga with its vakra sanchara

ri म ऩि स

has a special beauty.

Karnatak

Kuthuhala is derived from the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dbi, nu) which corresponds to Bilaval That. Its jati is Shadava-Sampoorna. Ga is not used in aroha. Aroha and avaroha of Kuthuhala are :-

स ऩि3 म1 ऩि3 S ध2 प ऩि3 सं—स ऩि3 ध2 प म1 ग3 णि2 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 म नि S ध प ऩि सं—स नि ध प म ग रि स

Kuthuhala is a rare raga. It is said that-Katanakuthuhala

74

RAGANIDHI

was an improvement effected by Patnam Subrahmanya Iyer in

the raga Kuthuhala which already existed. Katanakuthuhala

has become every popular. Its aroha and avaroha are :-

स ri म घ स नि सं व स नि घ व म ग ri स

Ga has been introduced in aroha and instead of मिस घ नि सं

we find ग स नि ग सं in Katanakuthuhala and the

change is very pleasing. (See Katanakuthuhala).

Compositions in Kuthuhala are:-

Avarakula Shramamai Dochu (Telugu—Adi Tala

—Manabuchvadi Venkatasubbiah.

Mati Matiki Ni Namame (Telugu) Adi Tala —

Tiruvattiyur Tyagaraja.

LACCHASAKH

Amir Kbusru is said to have introduced this raga. Laccha-

sakb belongs to Bilaval That (Dheerasankarabharana). Its jati

is Sampoorna - Sampoorna. Aroha and avaroha are :-

म ri ग - म प - ध नि सं-सं धि प - ध नि प - म ग - म ri स

or

ग ri स.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh

and both Komal and Tivra Ni. Pakad or Diagnostic svara

groups are:-

ग म नि घ - प - म ग - म ri स or म ग ri स.

Vadi is Dh and Samvadi Ga. Sangatis ग ri - ध प - स ri -

धि ri etc. are used.

Lacchasakh is considered by some to be a mixture of

Alaiyya Bilaval and Jinjoti. Some others considcr it to be a

mixture of Alaiyya Bilaval and Khamaj. Bilaval anga is very

prominent in avaroha. Hence it is considered to be a type of

Bilaval. Bilaval, Jinjoti and Khamaj angas found in this raga

are: Bilaval—ध नि प - ध म - ri ग - ri प - म ग ri स Jin-

joti—ri ग म - प ध सं ri धि म ri. Khamaj—ग म प ध नि सं. In some

compositions Kedar anga is also present. Ga which is some-

times kept clongated gives a chaya of Goud Sarang. When

75

LACHARJ TODI

this happens angas of Jinjoti and Bilaval are introduced. Ga

is used as ग म ri म and also as म ग ri स. This raga is sung

during the first prahara of the day. This is a difficult raga

although a pleasing one. It is not a popular raga A composi-

tion in Lacchasakh is :-

Kahe Karata Ho Mose—Ek Tal (Vilambit).

Karnatak

There is no Karnatak raga called Lacchasakh nor one

which resembles this Hindustani raga.

LACHARI TODI

Hindustani

This is a rare raga and a difficult one to render properly.

This raga is put uder Todi That (Shubhapantuvarali) although

chaya of Todi is not found. In this raga two Gandharas, two

Dhaivats and two Nishads are used. Ri is Tivra and Ma is

Suddha. Arobas and avarohas suggested by different authors

are :-

(1) Sampoorna—Sampoorna Type

स ग - ri म - प ध - नि सं—सं नि ध प - म ग ri - नि स

(2) Shadava—Sampoorna Type. In this type Ni is omitted

in aroha.

ri म ri म

स ri ग म - प ध प सं - सं ri धि प - धूंप - म

म म

गू ri ग ri म स.

In the second type svara group ri ग म स gives a peculiar

effect. This raga has more of Asavari chaya than of Todi.

Compositions in this raga are :-

Bahuta ya Jagmo—Ektal (Vilambit)

--S. N. Ratanjankar.

Hame Dekhilo Lakhilo —Trital (Madhya).

Hindustani raga Hamsakankini resembles Lachari Todi

(Sampoorna—Sampoorna) to some extent.

76

RAGANIDHI

Karnatak

There is no raga called Lachari Todi in Karnatak sangeet

Karnatak raga Anandabhairavi resembles it in some sancharas.

(See Anandabhairavi).

LAJAVANTI

Hindustani

Lajavanti is a rare raga belonging to Bilaval That (Dheera-

sankarabharana). Its jati is Audava - Audava Ga and Ni

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

Lajavanti are :-

स - न द प - ध प - प ध प म - स र - ग ध प - ग म रि स.

Svaras used are all Suddha svaras of Hindustani sangeet.

Pakad or diagnostic svara groups are : म रि ग स - ग ध प - म प

ध प व - ग म रि स. Vadi is Pa and Samvadi Ri. This raga is an interesting one on account of the fact

that the svaras used are the same as in Durga of Bilaval That.

But in Lajavanti prominence is not given to svaras Ma and Dh

as in Durga. Hence the svaroop of Lajavanti becomes different

from that of Durga.

While singing this raga touches of ragas Kāmod, Tilak

kamod, and Sarang are introduced, as, Kamod :-स म रि

प ध म - ग ध प व. Tilak Kamod :-ग प - म प - ग रि स. Sarang :-

प ध रि स or प म रि ग स.

Lajavanti is sung during the last prahara of night. A

composition in this raga is :

Aj Jage Mere Bhag—Ektal (Madhya)—J. D. Patki.

Hindustani raga Durga (Bilaval That) resembles Lajavanti.

Durga--Prominence is given to Ma and Dh. (See Durga).

Karnatak

There is no raga called Lajavanti in Karnatak sangeet.

Suddha Saveri uses the same svaras as Lajavanti. But Suddha

Saveri resembles Durga in its sancharas more than Lajavanti.

(See Suddha Saveri)

77

LAKSHMI KALYAN

LAKSHMI KALYAN

Hindustani

This raga is said to have been composed by Shri Wamanrao

Bhatt. Lakshmi 'Kalyan belongs to Kalyan That (Mecha-

kalyani). It is a Sampoorna - Sampoorna raga with vakra

sancharas in both aroha and avaroha. Aroha and avaroha of

Lakshmi Kalyan are:-

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

Svaras used are Tivra Ri, Tivra Ga, both Sudddha and

Prati Ma, Tivra Dh and Tivra Ni. Pakad or Gunjan svara

groups are :-

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

नि - रि स - ति ग म रि.

Ni is durbal in aroha. Tivra Ma is used as म प in aroha

avoiding Ga. In avaroha both Madhyamas are used side by

side as म म प म रि. There are chayas of Suddha Sarang and

Kamod in Lakshmi Kalyan. But as Ga is used in Lakshmi

Kalyan its svaroop becomes different from that of Suddha

Sarang. In Kamod svara groups रि ग - प म ग - प म रि are

frequently used. These are not in evidence in Lakshmi

Kalyan. This is an evening raga.

Lakshmi Kalyan is not a popular raga. A composition in

this raga is :

Sundara Mooratiya—Trital (Madhya)—J. D. Patki.

Karnatak

There is no raga called Kakshmi Kalyan in Karnatak

sangeet nor one which resembles Lakshmi Kalyan of

Hindustani

Karnatak raga Saranga having the following aroha and

avaroha resembles Lakshmi Kalyan to some extent.

स रि ग प ध नि स—स नि ध प म ग रि स.

In Saranga Tivra Ma and Komal Ma are not used side by

side as in Lakshmi Kalyan (See Saranga).

78

RAGANIDHI

LAKSHMI TODI

Hindustani

This is a rare raga. This raga is a very difficult one to render as two Rishabhs, two Gandhars, two Dhaivats and two Nishads are used. Madhyama used is only Suddha Ma., Use of above mentioned svaras are as under ;—

Ri In aroha Tivra Ri. In avaroha Komal Ri Ga—In aroha Tivra Ga. In avaroha Komal Ga. Dh—In aroha Komal Dh. In avaroha Tivra Dh. Ni—In aroha Tivra Ni. In avaroha Komal Ni.

Svaroop of Lakshmi Todi can be a imagined by the following chalan of the raga.

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

नि स - ग रि स

म प - ध प - नि सं - से नि सं - रि सं - मि सं - चि ध प - म प

पनि प - सं - प ध प - ग म - ग नि सं - नि प - ध प - म प - सं नि प म ग रि

A composition in Lakshmi Todi is,

Aye Jhoomata Javata Avata—Ek Tal.

Karnatak

There is no raga called Lakshmi Todi in Karnatak sangeet nor one which resembles this Hindustani raga.

LALIT or LALAT

Hindustani

Lalit or Lalat is a very pleasing raga. It is also a very popular raga. Lalit belongs to Marwa That (Gamanashrama). Its Jati is Shadava - Shadava. Pa is omitted in this raga. Aroha and avarona of Lalit are :-

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

Pakad or diagnostic svaca groups are :-

नि रि ग - म रि स - म ग म - म ग रि स.

Svaras used are Komal Ri, Tivra Ga, both Suddha and

LALIT BHAIRAV

79

Prati Ma, Tivra Dh and Tivra Ni. Some musicions use only Komal Dh and some use both Komal and Tivra Dh. As this raga belongs to Marwa That it is proper to use Tivra Dh. Vadi is Suddha Ma and Samvadi Sa. This is one of the few ragas in which the two Madyamas occur side by side as म म. They occur in this way in the svara group म ग म म प. This sounds beautiful. As Pancham is not used in this raga, the tambura wire for Pa is tuned to Ma, This sometimes causes coufusion to the singer—and the listener too—in regard to the Adhara Shruti or Base Note used. This is an uttaranga raga. In this raga Komal Ma is kept more elongated than Tivra Ma as

नि रि ग - म म प - म ग म प.

Hence म ग म is used. This raga can be sung almost from mid-night till 9 A. M. Popular compositions in Lalit are :

Raina Ke Sapana—Ek Tal (Vilambit).

Are Mana Rama Nam—Ek Tal (Vilambit).

Piyu Piyu Ratata—Teen Tal (Drut).

There is a raga called Lalitha in Hindustani sangeet which is quite different from Lalit. (See Lalitha)

Karnatak

Tnere is no raga called Lalit or Lalat. There is a raga called Lalitha which resembles Hindustani raga Lalit in many details. But in Karnatak raga Lalitha, only Suddha Ma is used. Aroha and avaroha of Karnatak raga Lalitha are :

स रि ग म प ध नि - सं नि ध प म ग रि स.

If Prati Ma is removed from Hindustani raga Lalit what remains is the same as Karnatak raga Lalitha (See Lalitha).

If Prati Ma is added to Karnatak Lalitha then it becomes Hindustani Lalit or Lalat.

LALIT BHAIRAV

Hindustani

Lalit Bhairav belongs to Bhairav That (Mayamalavagaula). Its jati is Shadava-Shadava. Pa is omitted in this raga. Aroha and avaroha of Lalit Bhairav are :

स रि ग म प ध नि - सं नि ध म ग रि स

80

RAGANIDHI

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Komal Dh and Tivra Ni. This raga does not use Tivrra Ma at all. The chaya of Lalit is produced by elongating Ma which is Komal. Lalit Bhairav is a pleasing raga and yet not popular.

Karnatak

There is no raga called Lalit Bhairav in Karnatak sangeet. Karnatak raga Vasantha which is a janya of the 15th Melakarta Mayamalavagaula (Bhairav That) very closely resembles the Hindustani raga Lalit Bhairav. Vasantha of South has the following aroha and avaroha :-

स ri1 ग म1 प ध2 नि3 स-- ri1 ग म प ध नि3 स

In Vasantha Ri is not used in aroha (See Vasantha). In Lalitha of Karnatak some use Komal Dh instead of Tivra Dh. When this is done Lalitha resembles Lalit Bhairav of Hindustani sangeet (See Lalitha).

LALITHA

Hindustani

There is a raga called Lalitha mentioned by some writers. The svaroop of this raga is quite different from tue popular raga Lalat or Lalit. Lalitha is a rare raga. It is said to be a mixture of Sohoni and Basant. Svaroop of Lalith is not known. It is said that this raga resembles the Hindustani raga Manjari. Aroha and avaroha of Manjari are as under :-

स म प म ग म प ध नि स-- नि ध प म ग ri1 स. (See Manjari).

Karnatak

Karnatak raga Lalitha is a popular one. But Karnatak Lalitha has no resemblance to Hindustani raga of the same name. Karnatak, Lalitha has great resemblance to Hindustani Lalit excepting that Prati Ma is not used in Karnatak raga Lalitha. Want of Prati Ma and absence of two Madhyams side by side as in Hindustani raga Lalitha gives it a different svaroop altogether. If Prati Ma is removed from the Hindustani raga Lalit what remains is Karnatak raga Lalitha. As in Hindustani

Lalit, in Karnatak Lalitha also some use Komal Dh. This type resembles the Hindustani raga Lalit Bhairav (See Lalit Bhairav).

Lalitha, when Chatsruti Dh (Tivra Dh) is used belongs to the 17th Melakarta Suryakantha (ra, gu, ma, dhi, nu). Its jati is Shadava - Shadava, Pa is not used in this raga. Aroha and avaroha of Lalitha are :-

स ri1 म1 ग म1 ध2 नि3 स--नि3 ध2 म1 ग ri1 स

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

स ri ग म ध नि स--नि ध म ग ri स

This can be called Komal Sohoni of Hindustani. In Sohoni Lalitha of Karnatak. If Suddha Ma is used instead of Prati Ma then it becomes Lalitha of Karnatak.

In Lalitha of Karnatak some use Suddha Dh (Komal Dh) instead of Chatsruti Dh (Tivra Dh). Lalitha then has the following aroha and avaroha :-

ग ri1 ग म ध नि स--नि ध म ग ri1 स.

This Lalitha will have to be put under the Melakarta Mayamalavagaula (Bhairav That).

While singing Lalitha, Ri is skipped over in aroha giving rise to the sanchara स ग म ध नि स. This should not be done when Suddha Dh is used. The aroha then becomes that of Karnatak raga Vasantha.

A popular composition in Lalitha is :-

Seethamma Mayamma (Telugu) - Rupaka Tala -Tyagaraja.

Karnatak raga Vasantha has great resemblance to Lalitha. Several discussions had taken place in Music Conferences in South India regarding the svaras used, the sancharas and the Melakartas under which they should be put. As a result of these discussions the opinion of the majority seems to be as under :

Lalitha :-Melakarta-Suryakantha. Only Chatusruti Dh

81

LALITHA

82

RAGANIDHI

to be used. Ma not to be elongated. Ri should not be skipped over in aroha.

Vasantha :-Melakarta--Mayamalavagaula. Only Suddha Dh to be used. Ma should be elongated in avaroha. Ri should be dropped in aroha. (See Vasantha).

LALITHA GAURI (Bhairav That)

Hindustani

In Lalitha Gauri which belongs to Bhairav That, only Komal Dh is used. Its Jati is Sampoorna--Sampoorna. Aroha and avaroha are :

स ri ग म - म प ध नि सैं—सैं नि ध प · धू म - मं ध नि स. ध नि स.

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

This type of Lalitha Gauri consists of a combination of the two morning ragas Bhairav and Lalit. It is sung with Bhairav anga. Hence this raga is more suited for being sung in the morning than in the evening. Compositions in this raga are:-

Phuli Sanga Madhuvanam--Jhaptai (Madhya)--

Prabhat Deoji Sahib.

Ye Muraliwale--Dhamar--Vilambit.

Karnatak

There is a raga called Lalitha Gauri in Karnatak sangeet. It is a janya of the 15th Melakarta Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Hindustani Bhairav That. Its jati is Sampoorna-Audava. In avaroha Ni and Ma are not used. Aroha and avaroha of Lalitha Gauri are :

स ri1 ग2 म1 प ध1 नि सैं—सैं ध1 प म5 ध1 स.

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

83

LALITHA GAURI

स ri ग म - प ध नि सैं—सैं ध प ग ध स.

Lalitha Gauri is not a popular raga.

Lalitha Gauri of South has no resemblance to Lalitha Gauri (Bhairav That) of Hindustani sangeet as Prati Ma is not used in Lalitha Gauri of South. It has also no resemblance to the Hindustani raga Lalitha Gauri which belongs to Marwa That (Gamanashrama).

(See Lalitha Gauri—Marwa That).

LALITHA GAURI (Marwa That)

Hindustani

This raga is also called by the other names--Lalitha Mangal and Sampoorna 'Bibhas. In Lalitha Gauri which belongs to Marwa That (Gamanashrama) both Komal and Tivra Dh are used. Tivra Dh is even more prominent than Komal Dh. Jati of this type of Lalitha Gauri is Audava—Sampoorna. Ri and Ga are omitted in aroha. Aroha and avaroha of this type are :-

स - म - प - ध - संध - प नि सां—हिं ध प - प ध म - मं ग ri स.

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

Tivra Dh is used in both aroha and avaroha and Komal Dh only in avaroha. Vadi is Sa and Samvadi Pa It is a raga to be sung very early in the morning--"Ushakala".

It is said that this type of Gauri is obtained by using both Madhyams in Gauri. In this raga chayas of Hindol, Basant, Sohoni, and Bhatiyar are present. In fact there is no anga of Lalit.

Chalan of this raga is as under :-

मं ध - नि हिं - तिं रि - सं - नि सं - सं नि · ध प - ध नि प - ग प - मं ग - मे स।

स - नि ध स · ध स - प - प ध नि - प - ग म - ध - से सं - सं ध सैं - नि ध - ति रि सैं - सं वि ध प - प ध स ति प - ध - म प ।

84 RAGANIDHI

This is not a popular raga. A composition in this raga is;

Bhora Bhayee-Jhap Tal (Madhya).

Hindustani raga Bhatiyar of Marwa That resembles this type of Lalitha Gauri. (See Bhatiyar—Marwa That).

Karnatak

Karnatak raga Lalitha Gauri has been described under the raga Lalitha Gauri of Bhairav That. (See Lalitha Gauri—Bhairav That). This raga has no resemblance to the Hindustani raga Lalitha Gauri belonging to Marwa That.

There is no Karnatak raga which resembles Lalitha Gauri of Marwa That.

LALITHA KALI

Hindustani

This raga belongs to Bhairav That. (Mayamalavagaula). Its jati is Sampoorna—Sampoorna. Aroha and avaroha of Lalitha Kali are :

नि धि रि म - म म - ग म प - धु नि ध प मं - धु सं-हि नि ध प - नि मं म मं ग धि स.

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

नि धि रि म - ग मं स म - ग म प धु नि ध प - मं ग मं ग धि स.

This raga is said to be formed by svara vinyasa in the raga Ramkali. Tivra Ma is taken directly or in a straight way. While reaching Tara Shadja Ni is omitted and ऋ - ग - ऋ is used as in Lalit anga. Sangati ऋ ग is beautiful. Nyasa on Ga is very pleasing. This is a difficult raga. Compositions in Lalitha Kali are :

Anga Bibhuti Jaya Gangadhara—Ektal (Vilambit) —“Rasik.”

Sovata Neenda—Trital (Madhya) —“Rasik”

Hindustani raga Ahir Lalit resembles this raga.

85 LALITHA KALI

Ahir Lalit—Dh is Komal. Both Komal and Tivra Ni are used. (See Ahir Lalit).

Karnatak

There is no raga called Lalitha Kalijin Karnatak sangeet, nor one which resembles this Hindustani raga.

LALITHAVARI

Hindustani

This is a rare raga. This is supposed to be a kind of Lalit. There is chaya of Hindol also in this raga.

Svaras used are Komal Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dh and Tivra Ni. Jati is Shadava—Shadava. Pn is not used. Chalan of Lalithavari is as under :-

म नि धि स - ध नि प मं ध स नि धि स - नि धि प - मं प धि प . मं ग प ध नि प मं ध मं ग . नि ट़़ि ध मं - सं धि नि से नि ध . नि मं ध नि मं ध नि ग . मं ता रि स . मं ग प म मं न त - नि घ रं म ग

Halt is made on Ga to avoid too much of Lalit Chaya in uttaranga halt is made on Dh. Compositions in this raga are :-

Bhala Jagare Sara Raina—Ektal (Vilambit)—Kabirdas.

Kaha Nara Apani Janma—Teen Tal (Madhya).

Karnatak

There is no Karnatak raga called Lalithavari, nor one which resembles this Hindustani raga.

LALIT PANCHAM or LALITHA PANCHAMA

Hindustani

Lalit Pancham belongs to Bhairav That (Mayamalavagaula). Its Jati is Audava—Sampoorna. Ri and Pa are ommitted in aroha. Aroha and avaroha of Lalit Pancham are :-

नि स ग म - मं र म म - मं धु नि सं-मं नि ध प मं - ऋ प - ग म प नि स

86

RAGANIDHI

Svaras used are Komal Ri, Tivra Ga, both Komal and Tivra Ma, Komal Dh and Tivra Ni. Vadi is Ma and Samvadi Sa. Lalit Pancham may be considered to be raga Lalit in which Pa has been introduced. There is Lalit anga. Introduction of Pa gives a different svaroop from Lalit. This raga is sung during the last prahara of night. Compositions in Lalit Pancham are :-

Kara manaka yi Bichara Manuja — Trital (Madhya). Saba Kuch Hota Nahi—Trital (Madhya)

—G. N. Natoo.

Lalit Pancham is different from raga Pancham which belongs to Marwa That. In Pancham Tivra Dh is used (See Pancham).

Karnatak

Karnatak raga Lalitha Panchama is a janya of the 15th Melakarta Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That. Jati of Lalita Panchama is Shadava–Sampoorna. Pa is omitted in aroha. Aroha and avaroha of Lalit Panchama are :-

स ri1 ग3 म1 ध1 नि3 —सं नि3 ध1 म1 प म1 ग3 ri1 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 ri ग म ध नि सं—सं नि ध प म ग ri स.

There is a vakra sanchara in avaroha. Aroha is of Lalitha (Karnatak). In;avaroha Pa is introduced. One thing to be noted is that in Lalitha Panchama Suddha Dh (Komal Dh) is used. In Karnatak Lalitha, although majority of opinion is in favour of Chatusruti Dh (g), some use Suddha Dh (g).

Lalitha Panchama is a rare raga. The following composition in this raga is available.

Parama Purusham—Khanda jati Chapu Tala

—Swati Tirunal.

Shri Vidya Pati—Adi Tala—Jayachamaraja Wodeyar.

87

LALIT PANCHAM

According to Dikshitar school, Lalitha Panchama is derived from the 14th Melakarta Vakulabharana (ra, gu, ma, dha, ni). Its jati is Audava–Sampoorna. In aroha Ri and Pa are ommitted. Its aroha and avaroha are :-

ri1 ग3 म1 ध1 नि3 सं—सं नि3 ध1 प1 व म ग ri1 स.

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

According to Hindustani notation the aroha and avaroha are :-

ri स ग म ध नि सं—सं नि ध प म ग ri स.

A composition in this type of Lalitha Panchama is :-

Brihadishvaram Bhajare—Adi Tala

—Muttuswamy Dikshitar.

This type of Lalitha Panchama has some resemblance to Karnatak raga Ahiri. In Ahiri, in aroha, Pa is used. (See Ahiri).

LANKADAHAN SARANG

Hindustani

Lankadahan Sarang belongs to Kafi That (Kharaharapriya). There are two types of this raga : (1) Audava - Sampoorna. (2) Audava - Shadava.

TYPE I

In the Audava–Sampoorna type Ga and Dh are omitted in aroha. Aroha and avaroha of this type are :-

म प ध

स ・ ri ・म ・म ・प नि धनि प ・म नि सं—सं नि प ध

प ・म प ग म ri स.

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

नि ri प ・सं निद्ध नि प ・म प ग ri म ri स. Ga is used in a vakra sanchara as ग म ri स or ri ग नि स.

88

RAGANIDHI

This is a midday raga. A composition in this type of Lankadahan Sarang is,

Gulal Ranga Bharaki--Dhamar (Vilambit)

TYPE II

In the Audava-Shadava type Ga and Dh are not used in aroha. In avaroha Dh is not used.

Aroha and avaroha of this type are :-

स रि म प नि सं—सं नि ध प म रि ग रि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, and both Komal and Tivra Ni. Tivra Ni is used in aroha and Komal Ni in avaroha. Vadi is Sa and Samvadi Ma. Ga is used in a vakra sanchara as स म रि स or as रि ग रि स.

This is a midday raga. A composition in this raga is :-

Abki Bar Ayee Re--Jhumra (Vilambit).

Karnatak

There is no raga called Lankadahan Sarang in Karnatak sangeet.

There are three Karnatak ragas having some resemblance to Lankadahan Sarang of Audava-Sampoorna type. But Tivra Ni is not used in any of these. Aroha and avaroha of these ragas are :-

Shree Raga :—स रि म प नि सं—सं नि ध प म ग रि स रि स.

Kanakavarali :—स रि म प नि सं—सं नि ध प म ग रि स.

Suddha Velavali :—स रि म प नि सं—सं नि ध प म ग रि स.

All these ragas are derived from the 22nd Melakarta Kharaharapriya (Kafi That).

Karnatak raga Manirangu has some resemblance to the Audava--Shadava type of Lankadahan Sarang. In Manirangu there is no vakra sanchara in avaroha and Ga is elongated. Only Komal Ni is used in both aroha and avaroha. Aroha and avaroha are :-

स रि म प नि सं—सं नि प म गू 5 रि स.

89

LANKESHREE

LANKESHREE

Hindustani

Lankeshree belongs to Khamaj That. (Harikambhoji.) Its jati is Sampoorna-Sampoorna. Aroha and avaroha are :-

स ग रि स रे स म - ग प म - नि ध सं—गं रि ग - स - रि . नि सं नि ध प - वि ध म - ग रि स रि स or म ग रि स.

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

In this raga there are many vakra sanchara; both in aroha and avaroha. Vadi is Ma and Samvadi Sa. Some suggest the reverse arrangement.

Lankeshree is formed by combining the two ragas Khamaj and Jinjoti. Chalan of this raga is as under :-

रि - स नि - ध नि स - रे - ग रि - ग मिस - ध सं - ग प - म ग . म रि - स !

म - ध प - वि ध म - ग म रिस - ग म रि स - ग रि - ग - रि स ।

ध प - म ग रे - म ग रि स - म - नि ध - से - ग रें ग म - से - रि - ग रि सं - नि ध प - म ग - म ग रि स.

This raga is sung during the second prahara of night. It is a difficult raga and not a popular one. A composition in this raga is :-

Balama More Saiyya -- Ada Choutal (Madhya)

Hindustani ragas Bangeshree and Rageshvari resemble Lankeshree.

Bangeshree :-- Chalan is mostly in Mandra Saptak.

(Sce Bangeshree.)

Rageshvari :- Komal Ni is used. Pa is not used.

(Sce Rageshvari).

Karnatak

There is no raga called Lankeshree in Karnatak sangeet, nor one which resembles this Hindustani raga.

90

RAGANIDHI

LATANGI

Hindustani

There is no raga called Latangi in Hindustani sangeet.

Hindustani raga Latika has some resemblance to this Karnatak raga. In Latika Ma is not used. (See Latika).

Latangi Mel or That is obtained by combining Kalyan and Poorvi Thats in poorvanga and uttaranga respectively as under.

Poorvanga (Kalyan) - स ri ग मं. Uttaranga (Poorvi) - प धु नि सं.

Latangi - स ri ग मं - प धु नि सं - स नि धु प - म ग ri स.

Karnatak

Latangi is Melakarta No 63 of Karnatak sangeet (ri, gu, mi, dha, nu). According to Dikshitar school this Melakarta is called Geetapriya. Aroha and avaroha of this Sampoorna-Sampoorna raga are :

स ri2 ग3 म2 प ध1 नि3 सं—सं नि3 ध1 प म2 ग3 ri2 स.

Svaras used are Chatusruti Ri, Antara Ga, Prati Ma, Suddha Dh and Kakali Ni.

According to Hindustani notation the aroha and avaroha are :-

स ri गं प धु नि सं—सं नि धु प मं ग ri स.

Although Latangi is not a very popular raga, the following composition in Latangi is often heard.

Eee Diname Sudinamu--Chapu Tala--Tyagaraja.

LATIKA

Hindustani

Latika belongs to Poorvi That (Kamavardhini). Its jati is Shadava-Shadava. Ma is omitted in this raga. Aroha and avaroha of Latika are :-

स ri ग - प धु नि सं—सं नि धु प - ग ri स.

91

LILAVATI

Svaras used are Tivra Ri, Tivra Ga, Komal Dh and Tivra Ni. Strictly speaking Latika cannot come under Poorvi That.

In Poorvi That Komal Ri is used. Latika should come under either of the two Karnatak Melakarta ragas Sarasangi (No 17) or Latangi (No 63). There are no Thats corresponding to these Melakartas in Hindustani sangeet. In fact Latika sounds like Latangi from which Prati Ma has been removed (See Latangi). Pakad or Gunjan svara groups are,

स ri - धु नि - स ri ग प - मि धु - प ri - ग ri - नि धु स.

Vadi is Ga and Samvadi Ni. This is an evening raga. Latika is a pleasing raga and should be popularised. A composition in Latika is :-

Kona Bahane Bavare--Trital (Madhya)--Balaram Roy.

Karnatak

There is no raga called Latika in Karnatak sangeet. Latika can be obtained by omitting Ma in the two ragas Sarasangi and Latangi, preferably in Latangi. Aroha and avaroha of these are :

Sarasangi :- स ri ग प धु नि सं—सं नि धु प म ग ri स. (See Sarasangi)

Latangi :- स ri गं प धु नि सं—सं नि धु प मं ग ri स. (See Latangi)

LILAVATI

Hindustani

Lilavati belongs to Asavari That. Its jati is Audava-Audava. Ma and Ni are both omitted in this raga, Aroha and avaroha of Lilavati are :-

स ri - ग प धु सं—सं धु प - ग ri - ri स ri़ स. स.

Svaras used are Tivra Ri, Komal Ga, and Komal Dh Pakad or Gunjan svara groups are, प धु प - ग ri ग - धु स. Vadi is Ri and Samvadi Pa. This raga is sung during the second prahara of night. A composition in raga Lilavati is :-

92

RAGANIDHI

Kara Trishula Hat Damaru--Ek Tal.

Lilavati has great resemblance to the popular raga Shiva-ranjini and to raga Dvigandharabbushini.

Shivaranjini :- Tivra Dh is used. Vadi svara is Pa. (See Shivaranjini).

Dvigandharabhushini-- Tivra Dh is used in aroha and Komal Dh in avaroha. Two Gandharas--Komal and Tivra--are used side by side as

स ri ग़ मू - ग ri स - ग़ ri स ri स

(See Dvigandharabhushini)

There is no Karnatak raga called Lilavati. Raga Dvigandharabhushini has some resemblance to Lilavati. (See Dvigandharabhushini).

LOKARANJINI

Hindustani

There is no Hindustani raga called Lokaranjini. This Karnatak raga is very well suited for being introduced into Hindustani sangeet. Aroha and avaroha of this raga are:-

स ri ग़ म प ध नि सं—सं नि ध प म ग ri स.

Karnatak

Lokaranjini is derived from the 52nd Melakarta Ramapriya (ra, gu, mi, dhi, ni). Jati of this raga is Shadava-Sampoorna. Ri is omitted in aroha. Aroha and avaroha of Lokaranjini are :

स ri म1 प म2 ध2 नि2 से— से नि2 ध2 नि2 प म2 ग ri स.

Svaras used are Suddha Ri, Antra Ga, Prati Ma, Chatu-sruti Dh and Kaisiki Ni.

According to Hindustani notation the aroha and avaroha are :

स ri म प ध नि से— से नि ध प म ग ri स.

93

MADHAVAMANOHARI

Lokaranjini is not a popular raga but a pleasing one. The following composition in Lokaranjini is available :-

Yennadu Joothuno (Telugu)--Adi Tala

--Tiruvottiyur Tyagayya (Gopala Dasa).

MADHAVAMANOHARI

Hindustani

There is no Hindustani raga called Madhavamanohari. One type of Karnatak raga Madhavamanohari has some resemblance to Bageshree. The second type, judging from its aroha and avaroha, seems to be very well suited for bring introduced into Hindustani sangeet. Aroha and avaroha of Madhava-manohari of this type are :-

स ग़ ri ग़ म प धू नि सं—सं नि धू प म ग़ ri स.

The above type has a chaya of raga Madhuwanti in its avaroha. Dh is used is Komal. In Madhuwanti Dh is Tivra.

As the raga Simhendramadhyam is becoming popular in the North it is easy to introduce Madhavamanohari which is obtained by giving a vakra sanchara in aroha and omitting Pa in avaroha of Simhendramadhyam.

Karnatak

Madhavamanohari is of two types.

One rype is derived from the 57th Melakarta Simhendra-madhyama (ri, gi, mi, dha, nu). Its jati is Sampoorna-Sampoorna. In avaroha Pa is omitted. Aroha and avaroha of Madhava-manohari of this type are :-

स ri2 ग2 म2 प नि3 ध1 नि3 सं—सं नि3 ध1 म2 ग2 ri2 स.

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

स ग़ ri ग़ म प नि धू नि सं—सं नि धू म ग़ ri स.

94

RAGANIDHI

This is not a popular raga.

According to Dikshitar school, Madhavamanohari is a janya of the 22nd Melakarta Kharabarapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani. Its jati is Sampoorna-Shadava with vakra sanohara in aroha. Pa is omitted in avaroha. Aroha and avaroha of this type of Madhavamanohari are :-

स ri2 ग3 म1 प ध2 नि2 स - स नि2 ध2 म1 ग2 म1 ri2 स.

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

According to Hindustani notation the aroha and avaroha are :-

स ri ग म प नि3 सं—स नि3 ध प म ग ri स.

A composition in this type of Madhavamanohari is :-

Mahalakshmi Karunarasa Lahari (Sanskrit)—Adi Tala

• Muttuswamy Dikshitar.

This type of Madhavamanohari resembles Hindustani raga Bageshree to some extent. (See Bageshree)

Allied Karnatak ragas are :-Shiriranjani and Ritigaula.

Shriranjani :- Pa is not used (See Shriranjani).

Ritigaula :- Pa is used in avaroha and not in aroha. (See Ritigaula).

According to the decision of the Music Acadamy Madras the aroha and avaroha of Madhavamanohari are :-

स ri2 ग3 म1 प नि1 ध2 नि2 सं—स नि2 ध2 म1 ग2 ri2 स.

The Suddha Dhaivat is "alpa" in certain prayoga.

MADHUKAUNS

Hindustani

This is a rare raga which is put under Kafi That (Kharapriya) although only Prati Ma is used. There are two types.

95

MADHUKAUNS

TYPE I

Its jati is Audava-Audava. Ri and Dh are not used in this type. Aroha and avaroha of Madhukauns of this type are :-

नि स - ग म प - नि सं—स नि प मं ग स.

Svaras used are Komal Ga, Prati Ma, and Komal Ni. Pakad or Gunjan svara groups are :

स ग - म' प नि - प मं - ग नि स

Vadi is Pa and Samvadi Sa. This raga is sung during the third prahara of night.

Madhukauns of this type is obtained by substituting Prati Ma for Suddha Ma in the raga Dhani which has the following aroha and avaroha.

स ग म प नि सं—स नि ध प म ग स

(See Dhani)

Raga Dhani corresponds to the ragas Udayaravichandrika and Suddha Dhanyasi of South.

A composition in this type of Madhukauns is,

Namana Kar Shiva Shankara—Jhap Tal—(Madhya)

TYPE II

This type of Madhukauns is obtained by a combination of two ragas Malakauns and Madhuvanti. Its jati is Audava-Shadava. In aroha Ri and Dh are not used. In avaroha Ri is not used. Aroha and avaroha are :-

स ग म' प नि सं—स नि ध प मं ग स

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

In this type Dh is used in avaroha to bring out clearly chaya of Madhuvanti. In tara saptak Tivra Ri is slightly touched for ranjakatva. A composition in this type of Madhukauns is :

96

RAGANIDHI

Bat Na Mane Piyarava--Trital (Madhya)

Both the types of Madhukauns are of recent introduction.

Karnatak

There is no Karnatak raga called Madhukauns. One type of Madhukauns is obtained by substituting Prati Ma for Suddha Ma in ragas Udayaravichandrika and Suddha Dhanyasi whose aroha and avaroha are ;-

स म प नि सं—सें नि॒प म ग॒ स.

Aroha and avaroha of Madhukauns are :

स ग॒म प नि॒—सें नि॒ प म॒ ग॒ स

MADHUMAD SARANG

Hindustani

This raga is also called Madhyamadi Sarang. It belongs to Kafi That (Kharaharapriya) Its jati is Audava--Audava. Ga and Dh are omitted in this raga. Aroha and avaroha of Madhumad Sarang are ;-

स - रि - म प - नि॒ — सं—सें . नि॒ प म रि - स.

Svaras used are Tivra Ri, Suddha Ma and Komal Ni. Vadi is Ri and Samvadi Pa* Sangatıs प ऋे and म॒ प are frequently used and they are beautiful.

Some use Tivra Ni in aroha as-in Brindavani Sarang. It is a mistake. Only Komal Ni should be used in this raga.

This raga is sung during midday. Compositions in Madhumad Sarang are:-

Aj anjana Diyo-Jhaptai (Madhya).

Piyu Mose Mana Bhaye-Trital (Drut)--

Murali Manohar Shukla.

Allied Hindustani raga is Brindavani Sarang.

Brindavani Sarang--Tivra Ni is used in aroha and Komal Ni in avaroha. (See Brindavani Sarang).

Karnatak

There is no Karnatak raga called Madhumad Sarang.

97

MADHURANJANI

Karnatak raga Madhyamavati which has the following aroha and avaroha resembles Madhumad or Madhyamadi Sarang of Hindustani.

स रे म प धि॒—सं नि॒ स प म रि॒ स.

(See Madhyamavati.)

MADHUMALATI

Hindustani

Madhumalati is another name for the popular raga Madhuvanti. Hence it is described in detail under Madhuvanti.

(See Madhuvanti).

Karnatak

There is no Karnatak raga called Madhumalati. Karnatak raga Dharmavati resembles the Hindustani raga Madhumalati which also goes under the names Madhuvanti and Ambika.

(See Ambika and Madhuvanti).

MADHURADHWANI

Hindustani

This is another name for the raga Durga belonging to Khamaj That (Harikambhoji). Hence this raga is described in detail under raga Durga of Khamaj That. (See Durga-Khamaj That.)

Karnatak

There is no Karnatak raga called Madhuradhwani.

One type of raga Hindola resembles Madhuradhwani or Durga of Khamaj That of Hindustani. (See Hindola).

MADHURANJANI

Hindustani

Madhuranjani belongs to Kafi That (Kharaharapriya). Its jati is Audava--Audava. Ri and Dh are omitted in this raga. Aroha and avaroha are ;

स — ग॒म प नि॒ — सं—सें . नि॒ प - ग॒ म . ग॒ म॒ ग॒ स नि॒ - स.

98 RAGANIDHI

Svaras used are Komal Ga, Suddha Ma, and Tivra Ni. Pakad or diagnostic svara groups are ;

Ṡ Ṟ Ṡ Ṡ Ṃ · Ṇ Ṃ Ṗ · Ṇ Ṃ Ṇ Ṡ - Ṇi Ṡ Ṡ

Vadi is Pa and Samvadi Sa. This is an evening raga and a very pleasing one. This raga has chayas of Patadeep, Tilang, Dhani and Chandrakkauns. Their chayas are as under :-

Patadeep :- स · ग म प नि सां Tilang :- ग प नि · सां

Dhani :- ग म प · ग म गु. Chandrakkauns :- ग म ग़ु · Ṇi सां.

It also has a little chaya of raga Jog. This is an evening raga and is very pleasing. This raga is not a popular one. It deserves to be popularised. Compositions in this raga are,

Dheeta Langarava--Trital (Madhya)--J. D. Patki. Jhanjhanana Baje--Ektal (Madhya)--J. D. Patki.

The following Hindustani ragas are allied to Madhuranjani. Patadeep :- Ri and Dh are used in avaroha. (See Pata-deep)

Tilang :- Tivra Ga is used. Komal Ni is used in avaroha. (See Tilang).

Dhani :- Komal Ni is used (See Dhani).

Chandrakkauns :- Dhis used. Pa is not used. (See Chandra-kauns).

Jog :- Both Komal and Tivra Ga are used. (See Jog)

Karnatak

There is no raga called Madhuranjani in Karnatak sangeet. Following Karnatak ragas have resemblance to Madhuranjani.

Udayaravichandrika or Suddha Dhanyasi :- Ni is Komal. (See Udayaravichandrika).

Gambhira Nata - Ga is Tivra. (See Gambbira Nata.)

Nata--Both Komal and Tivra Ga are used. Komal Ga ( ग ) represents Shatsruti Ri of South. Both Komal and Tivra Ni are used. Komal Ni ( नि ) represents Shatsrut Dh of South. Ri and Dh are used in aroha only. (See Nata).

MADHUVANTI 99

MADHURI

Hindustani

Madhuri belongs to Khamaj That (Harikambhoji). Its jati is Svarantara–Audava. In aroha only four, and in avaroha five svaras are used. In aroha Ri, Ma, and Dh are omitted. Aroha and avaroha of Madhuri are :-

स ग - प नि सां—स Ṇि · प ग · प म · Ṇि सां

Svaras used are Tivra Ga, Suddha Ma, and both Komal and Tivra Ni.

Tivra Ni is used in aroha and Komal Ni in avaroha. Pakad or Gunjan svara groups are :-

ग प · म · Ṇि स · प म · Ṇि · सां.

Vadi is Ma and Samvadi Sa. Svaras groups ग प · म · Ṇि स are used frequently and give charm. This raga is sung late in the night. This is a rare raga. A composition in raga Madhuri is :-

Gopala Meri Preetama Pyare--Trital (Madhya) --Balaram Roy.

This raga sounds like mutilated Tilang.

Karnatak

There is no Karnatak raga called Madhuri, nor one which resembles this Hindustani raga.

MADHUVANTI

Hindustani

This raga is also called Ambika, Madhuvanti and Madhu-malati. It was introduced nearly thirty years ago. (See Ambika).

Madhuvanti should be placed under the Melakarta, Dharmavati of Karnatak sangeet. There is no That in Hindustani sangeet which corresponds to Melakarta Dharma-vati. Jati of Madhuvanti is Audava - Sampoorna. Ri and Dh are omitted in aroha. Aroha and avaroha of Madhuvanti are :-

निस - ग - मेप - or मे ग प - निसं - सं निस ध पमंग रिस.

Svaras used are Tivra Ri, Komai Ga, Tivra Ma, Tivra Dh and Tivra Ni. Vadi is Ma and Samvadi Sa. Pakad or "raga vachak" svara groups are :-

गमे - प निस प - मेग निस.

During recent years Komal Ni is also being used occasionally as प निस ध प. Aroha of this raga sounds like Mooltani. But in avaroha Tivra Dh and Ri change the chaya of Mooltani.

Svara group निस ध प sounds like Patadeep. Sangati ग sounds like Mooltani. This raga has gained great popularity during the last twenty years. This is an evening raga. Compositions in Madhuvanti are :-

Na Mane Sakhi More--Trital (Madhya)--J. D. Patki.

Ye Ri Ali Ko Yahiya--Teen Tal (Drut).

Ragas Mooltani and Simhendramadhyam resemble Madhu-vanti.

Mooltani--Ri is Komal. Dh is Komal. (See Mooltani).

Simhendramadhyam--Dh is Komal. Its aroha is also Sampoorna. (See Simhendramadhyam).

There is no Karnatak raga called Madhuvanti or Madhu-malati.

Melakarta No. 59 Dharmavati uses the same svaras as those used in Madhuvanti. Aroha and avaroha of Dharmavati are :-

स रिगं प प ध नि सं—सं निस ध प म ग रिस.

(See Dharmavati).

MADHUVANTI MALHAR

Hindustani

This raga has been invented by Pandit. N. V. Patwardhan. In this raga a combination of two popular ragas Madhuvanti and Mia Malhar is found. Madhuvanti is reflected in the poorvanga. Mia Malhar is evident in the uttaranga. Its jati is Sampoorna--Sampoorna. There are vakra sancharas in both aroha and avaroha. Aroha and avaroha of Madhuvanti Malhar are :-

स रि म प - में ग म ग - प ध नि सं—सं ध प म ग मे प ध म प.

स

म ग मे ग रिस

Svaras used are Tivra Ri, Komal Ga, Prati Ma, Tivra Dh and both Komal and Tivra Ni. Vadi is Ri and Samvadi Pa. This raga is sung in the evening. A composition in this raga is :-

Lc ja Kahiyo Sandesava--Jhumra Tal (Vilambit)

There is no Karnatak raga called Madhuvanti Malhar, nor one which resembles this compound Hindustani raga.

MADHYAMAVATI

Hindustani

Some consider Madhumad Sarang or Madhyamadi Sarang or Madhyamavati Sarang to be the same raga, having the following aroha and avaroha :-

स रि म प ध नि सं—सं नि ध प म रि स.

This corresponds with the Karnatak raga Madhyamavati. (See Madhumad Sarang).

One author is of opinion that the Hindustani raga Madhya-mavati is different from Madhumad Sarang or Madhyamadi Sarang. He mentions that it is a mixture of Jinjoti, Sindhura, Khamaj and Sorat ragas.

Chalan (trend) of this Madhyamavati is as under :-

ध प - म ग रि स - ग - म ग - स रि - निस स स - म प - निसं।

सं - सं रि ग प - ध - पध - गम - प - म ग प - ध नि स।

This Type of Madhyamavati makes use of all the seven svaras. Hence its jati is Sampoorna.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh, and both Komal and Tivra Ni. A composition in this type of Madhyamavati is,

Abato Mori Sunale--Jhaptal (Madhya).

Karnatak

Madhyamavati is a very popular Karnatak raga. It is a

janya of the 22nd Melakarta Kharabarapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani. Its jati is Audava-Audava. Ga and Dh are completely omitted. Aroha and avaroha of Madhyamavati are :-

स ri2 म1 प नि2 सं—स नि2 प म1 ri2 स.

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

स ri2 प नि2 सं — सं नि2 प म ri स.

This raga is considered to be very auspicious. Music concerts generally conclude with a short alapana in Madhyama-vati after the Mangalam Kriti in Sourastra "Nee Nama Rupa-mulaku" is sung. Popular compositions in Madhyamavati are :-

Rama Katha Sudharasa Panamu (Telugu)—Adi Tala—Tyagaraja.

Alagalalla Ladaga (Telugu)—Rupaka Tala—Tyagaraja.

Nannu Brova Rada—(Telugu)—Adi Tala—Mysore Vasudevachar.

MAHURI

Hindustani

There is no Hindustani raga called Mahuri, nor one which resembles this Karnatak raga.

Karnatak

Mahuri is a janya of the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani. Its Jati is Shadava-Sampoorna with vakra sancharas in both aroha and avaroha. Ni is Omitted in aroha. Aroha and avaroha of Mahuri are —

स ri2 म1 पa2 ri2 ग2 प ध2 सं — सं नि2 ध2 प म1 ग2 ri2 स ri2 म2 ri2 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 ri स नि प ध सं—सं नि ध प म ग ri स ri स.

This is a rare raga. A composition in Mahuri is :-

Mamava Raghuveera—Misra Eka Tala—Muttuswamy Dikshitar.

MALAGUNJI

Hindustani

This raga is also called Malgunji or Malgunjari and belongs to Kafi That (Kharaharapriya).

Its jati is Audaya-Sampoorna. Some make it Shadava-Sampoorna. In the first type in aroha Ri and Pa are omitted. In the second type Pa is omitted only in aroha. Audava-Sampoorna type is more popular. Aroha and avaroha of Malagunji are :-

नि स - ध नि स ग - म . ध नि सं-नि सं नि ध प म - म ग ri स.

or

सं नि ध प म ग - म ग ri स.

Svaras used are Tivra Ri, both Tivra and Komal Ga, Suddha Ma Tivra Dh and Komal Ni. Komal Ga is sparingly used in a particular sancharia म ग ri स at the conclusion of the alapana in avaroha. Pakad or Gunjan svara groups are,

म म ग ri स - नि स - पु ग नि सं - स ग म.

Vadi is Ma and Samvadi Sa. Some musicians omit Pa even in aroha. This raga is sung with Bageshree anga. Chalan of Malgunji is as under .-

नि

नि स - ध नि स ग - म . ध - नि सं - ध नि सं ri सं - ग म ग - ri सं - नि सं नि ध प म - ग म ग ri स . नि स - ध नि स ग स म.

The following prayogas or sancharas are also employed :-

ध नि म ग स म - ध नि सं ri सं - ri म ध स म . प ध प ध नि 5 ध प म.

This raga is sung in the night Compositions in Malgunji are :-

Baname Charavata Gaiyya - Ek Tal (Vilambit).

Muraliki Dbuna Suni--Trital (Madbya).

Hindustani ragas Hamsakankini, and Patamanjari resemble Malgunji. But these two ragas are sung with Dhanashree anga

while Malgunji is sung with Bageshree anga.

Hamsakankini--Sung with Dhanashree anga. Ri and Dh are omittcd in aroha. Pa is prominent in aroha In avaroha

Ma is kept elongated as--स रे म प धु नि स स रि1 स.

Hamsakankini is vakra. (See Hamsakankini)

Patamanjari-Sung with Dhanashree anga. Pa is used in

a vakra sanchara in both aroha and avaroha. Tivra Ni and

Pa of mandra saptak are beautiful Nyasa svaras. (See Pata-manjari).

Madhuradhwani--(Durga of Khamaj That) also has some

resemblance to Malgunji. Only Komal Ni is used. Pa and

Ri are left out. (See Madhuradhwani).

Karnatak

There is no raga called Malgunji in Karnatak sangeet.

Natakuranji wuich is a janya of the 28th Melakarta

kambhoji (Khamaj That) has resemblance to Malgunji of

Hindustani sangeet. In Natakuranji only Tivra Ga (Antara

Ga) is used. Aroha and avaroha of Natakuranji are :-

स रि1 म प धु नि स - सं नि धु प म ग3 रि स.

(See Natakaranji)

MALAHARI

Hindustani

Malahari means an agency which removes dirt. Malahari

is a rainy season raga. The name is an apt one as rain remores

dirt, Name Malahari has undergone several changes. It

became Malhari, Malhar and ultimately Mallar even. Very

little is known regarding the raga Malahari of Hindustani

sangeet. One writer mentions it as a Sampoorna-Sampoorna

raga consisting of only Suddha svaras having Ga as Nyasa svara

and with Ma elongated. Some omit Ni and make it Shadava-

Shadava raga consisting of Suddha svaras only. Occasionally,

use of Komal Ni is also permitted. Chalan of raga Malahari

according to that author is as under :-

ष सं ध प - म म प रि - स ति न म - म ग म म म ध सं - सं सं

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

ष ध - स रि ध प - प स स - घ प म ग रि स.

This is not a popular raga.

Hindustani ragas Jogia and Gunakree have for their

aroha the same svaras as in Karnatak raga Malahari. Avarohas

are slighlty different. Aroha and avaroha of raga Jogia are,

स रि म प ध सं-सं नि धु म प रि स. (See Jogia).

Aroha and avaroha of Gunakree are,

स रि म प ध सं-सं ध प म रि स. (See Gunakree).

Karnatak

Malahari is a janya of the 15th Melakarta Mayamalava-

gaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That

of Hindustani. Its jati is Audava-Shadava. In aroha Ga and Ni

are omittcd. Aroha and avaroha of Malahari are :-

स रि1 म प ध - सं1 व रि1 प म3 ग3 रि1 स.

Svaras used are Suddha Ri, Antara Ga, Suddha Ma and

Suddha Dh According to Hindustani notation, aroha and

avaroha of Malahari of South are,

स रि म प ध सं-सं ध प म ग रि स.

Raga Malahari is said to clean the mind of bad thoughts

when sung in the morning with bhakti In Karnatak sangeet

the most elementary form of music having sahitya is the Gecta.

The very first Geeta which is a composition of Shri Purandara

Dasa--a prayer to God Vinayaka, the Granter of success--is

set in the raga Malahari. As students of music practice music

in the morning the raga Malahari is both appealing and

purifying.

Malahari is not a raga which is sung in musical concerts.

106

RAGA Saverí and other Janya raga of Mayamalavagaula are

chosen for the purpose. Compositions in Malahari are :-

Lambodara Lakumikara (Sanskrit)–Geeta –Roopaka

Tala - Purandara Dasa.

Buddhi Devi (Kañarese)–Roopaka Tala

–Muthiah Bhagavatar.

MALAKOSH

Hindustani

Malakosh, also called Malkosh or Malakauns is a very old

and popular raga. It is one of the pleasantest of ragas. This

raga is also called Malawa Koushik. Malakosh belongs to

Bhairavi That (Hanumatodi) Some put it under Asavari That.

(Natabhairavi). Its jati is Audava-Audava. Ri and Pa are

omitted in this raga. Aroha and avaroha of Malakosh are :-

स ग म ध नि सं or नि स ग म ध नि सं - सं नि ध म ग स or

गू म ग स.

Svaras used are all Komal svaras of Hindustani sangeet.

Pakad or Gunjan svara groups are स - म गू - ध नि म - गू स.

Vadi is Ma and Samvadi Sa. Malakosh is sung with Bhairavi

anga गू म ध नि स. In this raga andolana on the svaras Ga, Ni and

Dh are very beautiful. Ma is kept isolated and sounds majestic.

This raga is sung between 9 p.m. and midnight. There are

several compositions in this raga. The following are very

popular.

Peerana Ja–Ek Tala (Vilambit).

Mukha Mora Mora–Trital (Madhya).

Allied Hindustani ragas are Chandrakouns, Pancham

Malkosh and Nabhokauns.

Chandrakouns–Ni is Tivra (See Chandrakouns).

Pancham Malakosh–Pa is used in avaroha as गू म प गू

स. (See Pancham Malkosh)

Nabhokauns–Uses both Komal and Tivra Ni (See Nabho-

kauns).

107

Karnatak

There is no raga called Malakosh, Malakauns or Malava

Koushik in Karnatak sangeet. Karnatak raga Hindola which is

a janya of the 20th Melakarta Natabhairavi (Asavari That) has

the same aroha and avaroha as Malakosh. Aroha and avaroha

of Hindola are,

स म गू म ध नि स—सं नि धू म गू स.

(See Hindola).

Hindola is a very popular raga and resembles Malakosh of

Hindustani very closely.

MALAN

Hindustani

This rare raga is also called Malini or Aruna Shankara and

has been described under Aruna Shankara (See Aruna

Shankara).

Karnatak

There is no Karnatak raga called Malan, nor one which

resembles this Hindustani raga

MALARANI

Hindustani

Malarani is a rare raga. It belongs to Kalyan That

(Mechakalyani). Its jati is Audava-Audava. Ga and Dh are

not used in aroha. In avaroha Ni and Ma are omitted. Its

aroha and avaroha are:-

स - रि म प - धि सं—सं ध प - धि म प म - प स रि स

Svaras used are all Tivra svaras. Pakad or diagnostic svara

groups are :-

रि म प स रि - प धि रि स - ध स - म प सं - रि स - प रि स.

Beauty of this raga lies in halting on Ri. Sangatis रि प and

धि रि स are used in this raga. Antara commences with प धि स.

रि स. In Malarani there are chhayas of Shyam Kalyan, Suddha

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RAGANIDHI

Kalyan and Kamod ragas. This raga is sung during the first prahara of night. Malarani is a difficult raga. It is not popular.

Compositions in this raga are:

Balama Ho Rasia—Tilvada (Vilambit)—J. D. Patki.

Juga Juga Jeevo—Trital (Madhya) — J. D. Patki.

Karnatak

There is no raga called Malarani in Karnatak sangeet.

Aroha of Malarani resembles that of Hamsanadam. Avaroha has a distinctly Kalyani chaya in the svara group स ri ग ri स.

(See Hamsanadam and Kalyani.)

MALASHREE

Hindustani

Malashree belongs to Kalyan That (Mechakalyani).

Malashree is one among the small number of ragas in Hindustani sangeet in which the number of svaras used are less than five and hence not in accordance with the rules regarding the construction of ragas. In spite of this defect Malashree, like Bhavani which uses only four svaras, is a very pleasing raga. There are four types of Malashree.

TYPE I

In this type only three svaras are used in both aroha and avaroha as under :-

स ri ग ri स ri - स ri प ri स.

This type sounds like the military bugle. Jati of this type is Samika-Samika. (Trisvari—Trisvari)

TYPE II

In this type three svaras are used in aroha and four in avaroha as under :-

स ri ग ri प ri स ri - स riं प riं ग ri स.

Jati of this type is Samika-Svarantara. (Trisvari-Chatus-vari).

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MALASHREE

TYPE III

In this type four svaras are used both in aroha and in avaroha.

स ri प ri नि सं - सं नि प ri - प ri ग ri स.

This is called the Chatusvari or Svarantara jati. In avaroha grace note or Kan of Prati Ma is given for svara Ga as ri.

This is the popular Type of Malashree.

TYPE IV

In this type five svaras are used in both aroha and avaroha as under:

स ri ग ri म ri प ri नि सं - सं नि प ri म ri ग ri स.

Its jati is Audava–Audava.

In all types of Malashree svaras used are Tivra svaras only. Vadi is Pa and Samvadi Sa. Pakad consists of ri स - प ri स.

While singing tanas, use of double or Jod svaras as स ri स ri ग ri प ri प is employed and they sound well. This raga should be kept clear of ragas like Hindol, Shankara and Bihag.

Compositions in Malashree are,

Karata Ho Sakala Singara (without Ma)—Trital (Madhya).

Bajare Thumaka (with Ma)—Trital (Madhya).

In some grinthas Malashree is put under Kafi That (Khara harapriya). If so all svaras become Komal and the raga sounds like Dhani of North or Udayaravichandrika of South with the following aroha and avaroha :-

स गू म प ri नि सं - सं dri प म गू स

(See Dhani and Udayaravichandrika)

Karnatak

There is no raga called Malashree in Karnatak sangeet.

There is a raga called Malavashree which has no resemblance to Malashree.

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RAGANIDHI

One type of raga Amritavarshini (popular type) resembles the type IV of Malashree in which five svaras are used. Amrita-varshini has the following aroha and avaroha :-

स ग म प नि स- स नि प म ग स.

(See Amritavarshini)

MALASHRINGAR

Hindustani

This raga has been composed by Shri Baburao Kaslikar. In this raga, angas of Hindol, Todi, Kafi, Kedar and Jayajayavanti are found, Hindol anga is found while reaching Tara Shadja. Kafi and Todi angas are also found round about Tara Shadja. Kedar and Jayajayavanti angas are found near Madhya Shadja. Hindol anga is shown with Komal Ma, They are as under:-

रि-म प-ध प-मं- पं-धे- पं-मं-रि- स - ध - म.

In this raga both Komal and Tivra Ri, both Komal and Tivra Ga, both Suddha and Prati ma, Tivra Dh and both Samvadi Ma (Komal) In aroha Ga and Ni are sparingly used. When coming down to Madhyam from Tara Shadja, Kedar anga is shown by using both Madhyams together as प म5 म प. Andolan on Komal and Tivra Rishabs is a feature of this raga as in,

रि म प- रि म प- ध प म5 प म- रि- रि स - रि - रि - स - ध स

Svaroop of this raga can be made out by the following chalan of the raga.

स स

स- ध प -स-रि-मप-रि-म प-

मं पं

गं मं - रि'- धं- स- रि'- ग - ध स- नि - ध प - मं ध

गं गं

स - प म5 म प रि - स. प रि ध प म स.

MALATI BASANT

111

This raga is sung during third prahara of night. Compositions in Malashringar are :-

Ayee Ho Ritu Ayee - Ektal Vilambit) --- B. Kastikar

Ravana Tore Nagar - Trital (Madhya) - B. Kastikar.

Karnatak

There is no raga called Malashringar in Karnatak sangeet, nor one which resembles this rare Hindustani raga.

MALATI BASANT

Hindustani

This rare raga is formed by the fusion of the four popular ragas Pooriya, Basant, Hindol and Sohoni. There is chaya of Lalit also. Its jati is Shadava-Shadava. Pa is omitted in this raga. Aroha and avaroha are :-

स रि ह स - स ग - मं धं- स नि ध म ग - स मं म प - म ग रि स

Svaras used are Komal Ri. Tivra Ga. both Suddha and Prati Ma, Tivra Dh and Tivra Ni. Pakad or Gunjan svara groups are.-

स मं म ग - मं नि ध म - म ग स - नि रि स

Angas of the four component ragas are found as under.

Basant -- म ग म रि स

Hindol -- स ध नि स ध

Sohoni -- स नि रि नि ध

Lalit.-- स म स - मं म ग

Vadi is Dh and Samvadi Ga, This raga is sung in the last prahara of the night. Compositions in this raga are:-

Tala Sura Bheda Gavata-Ada Choutal.

Santo yeso Dundha Pasara - TeenTal (Madhya).

Karnatak

There is no Karnatak raga called Malati Basant, nor one which resembles this Hindustani raga.

112

RAGANIDHI

MALAV

Hindustani

This rare raga belongs to Bhairav. That (Hanumatodi) Its

jati is Shadava-Shadava Ri is not used. Aroha and avaroha

of raga Malav are :-

स ग म - म ध नि सं - सं नि प ध - ध प म - ग म ग - स नि.

Svaras used are both Komal and Tivra Ga, Suddha Ma,

both Komal and Tivra Dh, and Komal Ni. Pakad or Gunjan

svara groups are :-

स म ग म प ध म - प ध नि ध प म

Vadi is Ma and Samvadi Sa. In this raga svara groups

प ध - प नि ध प म with Tivra Db given prominence are fre-

quently used. This raga is sung during the third prahara of

night. A composition in this raga is,

He Mero Mana Mohana--Trital (Madhya).

There is a Hindustani raga called Malavi, but it is quite

different from Malav (sec Malavi).

Karnatak

There is no Karnatak raga called Malav. No Karnatak

raga resembles this Hindustani raga. There is a Karnatak raga

called Malavi which does not resemble the Hindustani raga

Malav. (See Malavi).

MALAVA KEDARA

Hindustani

Malava Kedara is better known under the name Maluha

Kedara. Hence it is described under Maluha Kedara. (See

Maluha Kedara)

Karnatak

There is no raga called Malava Kedara in Karnatak

sangeet.

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MALAVASHREE

MALAVA PANCHAMA

Hindustani

There is no Hindustani raga called Malava Panchama. It

sounds like Bhairav in avaroha. In aroha Dh is not used.

Karnatak

Malava Panchama is a janya of the 15th Melakarta Maya-

malavagaula (ra, gu, ma, dha, nu) which corresponds to

Hindustani Bhairav That. Jati of Malava Panchama is Shadava-

Sampoorna. In aroha Dh is omitted. Its aroha and avaroha

are :

स रि1 म2 प ध1 सं - सं नि3 ध1 प म1 ग2 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 ग प ध सं - सं नि धू प म ग रि स.

A composition in Malava Panchama is :

Vasudevamupasmahe -- Rupaka Tala--

Muttuswamy Dikshitar.

Karnatak raga Gaulipantu is allied to Malava Panchama.

In Gaulipantu Dh is used in aroha but in vakra sanchara. (See

Gaulipantu)

MALAVASHREE

Hindustani

There is no Hindustani raga called Malavashree. There is

a raga called Malashree which has no resemblance to the

Karnatak raga Malavashree. (See Malashree)

Both types of Malavashree described below are pleasing

ragas and can be introduced under Hindustani Kafi That.

Karnatak

Malavashree is a janya of the 22nd Melakarta Kharahara-

priya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi

That. Its jati is Shadava-Shadava. Ri is omitted in both

aroha and avaroha. Its aroha and avaroha are :

स म₂ म₁ प नि₂ ध₂ नि₂ प ध₂ नि₂ सं—सं नि₃ ध₂ प म₁ ग₃ स.

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

According to Hindustani notation the aroha and avaroha are :

स र्‍‌म प ध नि प घ नि से—से नि ध प म ग्‍‌रु स.

Malavasbree is mentioned in some books as a Shadava-Audava raga with Ri omitted in aroha and Ri and Pa omitted in avaroha. Aroha and avaroha of this type of Malavashree are,

स म ग्‍‌रु र्‍‌नि ध नि प ध नि सं—सं नि ध र ग स.

Malavashree is not a popular raga. A composition in this raga is,

Yennallu Dirugunadi (Telugu)—Adi Tala—Tyagaraja.

According to Dikshitar school, jati of Malavashree is Audava Shadava with vakra sanchara only in avaroha. In aroha Ri and Dh are omitted. In avaroha Ri is omitted. Aroha and avaroha are :-

स रि₁ स₁ प नि₂ सं—सं नि₂ ध₂ स म₁ प नि₂ ध₂ म₁ ग₂ स.

According to Hindustani notation they are :-

स र्‍‌ग प ध नि सं—सं नि च प म प नि ध्‍‌रु म ग्‍‌रु स.

A composition in this type of Malavashree is :-

MangabayajiNamaste (Sanskrit)—Jhampa Tala—

• Muttuswamy Dikshitar.

MALAVI

times used. This is an evening raga. Hence the poorvanga is prominent Malavi is sung with Shree anga. Commencement of the raga is made with Shree anga. Then gradually Ga is introduced. Sangati ग is used. Halting on Ga removes the Shree chaya. But Shree chaya has to be maintained in the raga. That is why Ga is not made Vadi. Chalan of raga Malavi is as under.

स - रि₁ - स - ग म प रि स - स रि स - नि ध प म पा - नि य

दि स - स ग प म - दिंर्‍‌ग रि स - स - दि ग प - म ग रि - य दि स.

Although it is a pleasant raga, it is rarely sung. Compositions in raga Malavi are :-

Namo Namo Namo Narayana—Trital (Madhya)

-S. N. Ratanjankar.

Uothana Manakar Le—Trital (Madhya).

Hindustani ragas Poorvi, Shree, Gauri and Reva are allied to Malavi.

Poorvi - Both Komal and Tivra Ma are used (See Poorvi).

Shree—In aroha Ga and Dh are not used. (See Shree).

Gauri—Ga is sparingly used. (See Gauri).

Reva—Ma and Ni are not used. (See Reva).

Karnatak

There is a Karnatak raga called Malavi. It is a janya of the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Malavi is a Sampoorna-Sampoorna raga with vakra sanchras in both aroha and avaroha. Aroha and avaroha of Malavi are :

Hindustani

Raga Malavi belongs to Poorvi That (Kamavardhini). Its jati is Shadava-Shadava. In aroha Ni is not used. In avaroha Dh is omitted. Aroha and avaroha are :-

स दि ग प - दि न्‍‌म ग सं—सं नि प - म ग - दि ग - दि स.

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

स - दि रि स - ग - प - दि स - स ग - म्‍‌धु सं - दिं सं - नि प - ग

• प ग - दिं म ग - दि स.

and avaroha. Vadi is Ri and Samvadi Sa. Sangati ग is some-

स दि₂ ग₃ म₁ प म₁ ध₂ नि₂ सं—सं नि₂ ध₂ नि₂ प म₁ ग₃ म₁ दि₂ स.

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

स दि ग म प ध सं—से नि दि प म ग म दि स.

From the above aroha and avaroha it will be seen that the Karnatak raga Malavi has no resemblance to Hindustani raga of the same name. Malavi is not a popular raga. The following composition is sometimes heard.

Nenarunchinanu (Telugu)—Adi Tala—Tyagaraja.

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RAGANIDHI

MALAYAMARUTA

Hindustani

There was no raga called Malayamaruta in Hindustani sangeet. This Karnatak raga is being introduced into Hindustani sangeet by instrumentalists.

Malayamaruta is obtained by leaving out Ma in Ahir Bhairav. Ahir Bhairav has the following aroha and avaroha.

स ri ग म प ध नि सं– सं नि ध प म ग ri स.

Malayamaruta has for its aroha and avaroha :-

स ri ग प ध नि सं– सं नि ध ग ri स.

Ahir Bhairav corresponds to the Karnatak raga Chakravaka. (See Ahir Bhairav). Malayamaruta is a Shadava-Shadava raga with Ma omitted in both aroha and avaroha. It is a morning raga and a very pleasing one A composition in this raga is

Jago Mohana Pyare - Trital (Madhya) -B. Subba Rao.

Karnatak

Malayamaruta is a janya of the 16th Melakarta Chakravaka (ra, gu, ma, dhi, ni). Jati of Malayamaruta is Shadava-Shadava. Ma is omitted completely. Aroha and avaroha of Malayamaruta are :

स ri1 ग1 प ध2 नि2 सं– सं नि2 ध2 प ग1 ri1 स.

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

स ri ग प ध नि सं– सं नि ध प ग ri स.

Antara Ga and Kaisiki Ni are the raga chaya svaras. Halt on Dh produces a sublime effect as in ग प ध s. This raga is very appealing in the morning time. It is a very popular raga. The following composition is a favourite one.

Manasa Yetulortu Nena (Telugu)– Rupaka Tala

–Tyagaraja.

MALHAR

Hindustani

Although several Hindustani ragas have the name Malhar affixed to them indicating the presence of the Malhar anga

(Megh Malhar, Meera Malhar, Goud Malhar, Mia Malhar, Suddha Malhar etc.), very little is known about the pure raga Malhar itself.

Some writers refer to raga Mia Malbar as only Malhar thereby taking it for granted that Mia Malhar is the real raga called Malhar. Some suggest that the raga called Suddha Malhar is the typical Malhar. Some think that raga Malahari has come to be called Malhari and finally called Malhar or even Mallar. Very little is known regarding raga Malahari of Hindustani sangeet. (See Malahari). The following svara groups are accepted as indicating Malhar anga and are found to some extent in all varieties of Malhar --

ri ग – ग म ri स – नि ध नि स.

Karnatak

There is no raga called only Malhar in Karnatak sangeet. There are ragas called Gouda Mallaru, Megha Mallaru etc., as in Hindustani sangeet. In Hindustani sangeet the Malhar anga is represented by certain groups of svaras like ri ग - ग म ri स – नि ध नि स. But in Karnatak sangeet there are no such svara groups to indicate the Malhar or Mallaru anga.

117

MALIGAURA

Hindustani

This raga is also called Marugaura. Maligaura belongs to Marwa That (Gamanashrama). There are four types of Mali-gaura.

TYPE I

This type is the popular one. Its jati is Sampoorna–Sampoorna. Aroha and avaroha are :-

स – नि ri ग –म ग ri स – ri सं म ग प – म ग सं ध मं – सं नि सं– नि ri सं नि ध प स – मं ध प म – मं ग प – ध स मं – ग मं – ri स.

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

नि़ति - नि़ष षड् - म ष ण - रि म ण नि़ रि स. Vadi is Ri. Samvadi is Pa.

This type of Maligaura is a mixture of Pooria and Shree ragaS. Hence the use of both Komal and Tivra Dh. In aroha Tivra Dh is used and it gives a Pooria chaya. In avaroha Komal Dh is used and along with Pa gives a Shree chaya. In Pooria chaya Pa is not used. Some are of the opinion that only one Dh which is neither Komal nor Tivra should be used. Due to difficulty in locating and rendering such a svara both Komal and Tivra Dh are used.

Halting svaras are Sa, Ga, and Pa. Halt should not be made on Dh. In this raga, poorvanga is prominent. Rendering of the raga is done mostly in mandra and madhya saptakas.

This is an evening raga. Compositions in this type of Maligaura are,

Bhaja Shree Rama—Trital (Madhya).

Nainan me Chabi—Ektal (Vilambit)—J. D. Patki.

TYPE II

In this type of Maligaura there is Shree anga only. Only Komal Dh is used and even that very sparingly. Shree chaya is given by रि ष - रि - प ण. Sangati रि ष sounds beautiful. In aroha Pa is omitted. Antara commences with नि़ ध स or म स ण.

In this type chaya of Pooria Dhanashree also comes in. Hence it is difficult to give the svaroop of this type.

TYPE III

In this type of Maligaura there is only Pooria anga. Only Tivra Dh is used as far as possible. Pa is used in avaroha only. Dh should not be used as स नि़ ध प because it will sound like Poorva Kalyan.

TYPE IV

In this type Dh is completely omitted. Its jati is Shadava-Shadava. Aroha and avaroha are :

स रि म प नि़ स - स नि़ प म प नि़ स.

Karnatak

There are two ragaS Maruvagaula and Maruvagauri. These names resemble the names Maligaura and Marugaura.

Maruvagaula is a janya of the 43rd Melakarta Gavambodhi (ra, gi, mi, dha, na) and Maruvagauri is a janya of the 46th Melakarta Shadvidhamargini (ra, gi, mi, dhi, ni). These ragaS have no resemblance to any of the four types of raga Maligaura or Marugaura of Hindustani sangect. These ragaS are unfamiliar ragaS in Karnatak sangect.

Raga Mandari which is derived from the 52nd Melakarta Gamanashrama (Marwa That) resembles Type IV Maligaura.

Aroha and avaroha of raga Mandari are,

स रि म प नि़ स - स नि़ प म प नि़ स.

(See Mandari).

MALLIKAVASANTHAM

Hindustani

There is no Hindustani raga called Mallikavasantham Aroha of this Karnatak raga consists of svaraS of raga Tilang and avaroha of Bhairav.

Karnatak

We owe raga Mallikavasantham to Pallavi Shesha Iyer who composed the raga and also a kriti in this raga.

This raga is a janya of the 15th Melakarta Mayamalava-gaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That of Hindustani. Its jati is Audava-Sampoorna. In aroha Ri and Dh are omitted. Aroha and avaroha of Mallikavasantham are :-

स ग म1 प ध1 स - स निध1 प म1 ग1 रि 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 ग म प निध - स निधू प म ग रि स.

It is difficult to locate the groups of svaraS or sancharas which suggest Vasantha. Aroha sounds like Gambhira Nata or SuddhaNata and avaroha is like Mayamalavagaula.

120

RAGANIDHI

A composition in Mallikavasantham is ;

Ne Neruganu Rama Nee Mahimalu (Telugu)—

Trisra Eka Tala—Pallavi Sesha Iyer.

Karnataka Jaganmohini resembles Mallikavasantham.

Jaganmohini–Dh is not used in avaroha. Ga is elongated

in avaroha. (See Jaganmohini).

MALUHA KEDAR

Hindustani

This raga is also called Malava Kedar. Maluha Kedar

belongs to Bilaval That. Its jati is Shadava–Shadava. Ri is

omitted in aroha. In avaroha Ni is not used. Aroha and

avaroha of Maluha Kedar are :–

स - मा - प - ध मं - नि सं— संध प - मं प ध प - नन पां म

रि - नि स ध प मं. स मं नि स.

Svaras used are Tivra Ri, Tivra Ga, both Suddha and Prati

Ma, Tivra Dh and Tivra Ni. Komal Ni is sometimes used for

ranjakatwa. Pakad or Gunjan svara groups are : म रि स - स ध

प मं - प ध नि स. Vadi is Ma. Samvadi is Sa. Some suggest

Pa as Vadi. It is considered by some that Ni may be used in

avaroha also as सं नि ध मं प.

This raga is formed by introducing angas of ragas Kamod

and Shyama Kalyan into Kedar. According to some Tivra

Ma should not be used in Maluha Kedar. Even without Tivra

Ma, the raga has its own beauty.

Tivra Ma is used as प मं प or प मं र. Komal Ni is occa-

sionally touched as प धि प. Tivra Ma and Komal Ni may both

be avoided or eliminated without loosing the ragabhava. Ga is

taken in a vakra sanchara as स मा रि स.

Angas of component ragas of Maluha Kedar are :

Kedar :– स म - म प - म प ध - मं प ध नि प - प

ध पं- म प सं स ध प - व नि सं. - सं नि ध प. Kamod –म प ध

मं प - ग म प ध मं रि - प त म रि. Shyam Kalyan–म s रि. नि s स.

To the above the following are added in Mandra sthayee.

They give the characteristic feature of Maluha Kedar.

MALUHA SARANG

स स यु र मS - म प धि S स.

This raga has Dheera and Gambbira chalan. In alap svaras should be rendered with Gambhirata.

Rendering in mandra and madhya saptaks is very attractive.

This raga is sung during second prahara of night. Composi-

tions in this raga are :–

Krishna Murari Shyama Giridhari—Trital (Madhya).

Javo Javo Ghara Shyama—Jhaptai (Madhya)

—J. D. Patki.

Dagara Chalata Mori—Trital (Madhya)

—Ajmat Hussain (Dilrang).

Karnatak

There is no Karnatak raga called Maluha Kedar. No

Karnatak raga resembles Maluba Kedar or Malava Kedar of

Hindustani.

MALUHA SARANG

Hindustani

This raga is a combination of Maluha Kedar and Sarang

ragas. Its jati is Audava–Audava. In aroha Ga, and Dh are

not used. In avaroha Ga and Ni are dropped. Svaras used

are all Suddha svaras of Hindustani. Aroha and avaroha are :

स रि म प नि सं—सं ध प म रि स.

Aroha consists of Sarang and avaroha of Maluha Kedar

angas,

Chalan is mostly in mandra mand madhya saptaks. Trend

or Chalan is as under :–

स - नि स - ध नि स - स रि म - स रि स स. प ध मं - म

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

This raga is sung during midday. Svara groups in mandra

sthayee have got the chaya of Maluha Kedar. A composition

in Maluha Sarang is :–

Kaise Sajan Ghar Javo—Teen Tal (Madhya).

Karnatak

There is no Karnatak raga called Maluha Sarang nor one

which resembles this Hindustani raga.

121

122

RAGANIDHI

MAMATA or RAJ

Hindustani

This is a rare raga. It is said to have been invented by

Swamy Sampoornanand. This seems to have been the opinion

of Prof. Allauddin Khan of Maihar. This is evidently a modern

raga.

Mamata is a mishra raga formed by the combination of

Shankara and Yaman ragas. Some put this raga under Kalyan.

That (Mechakalyani). Others place it under Bilaval That

(Dheerasankarabharana). Jati of this raga is Audava-Audava.

Ri and Ma are completely omitted in this raga. Aroha and

avaroha of Mamata are :

स रि₁ म₁ प ध₂ नि₃ सं—सं नि₃ ध₂ प म₁ रि₁ स.

All svaras used are Suddha svaras of Hindustani sangeet.

Vadi is Ga and Samvadi Ni. Svaroop of Shankara is present

in this raga in its poorvanga. Unlike Shankara there are no

vakra sancharas in Mamata. This raga is impressive in madhya

and tara saptakas.

In uttaranga it has the Yaman chaya. Want of Ma and

Ri gives a different svaroop. It is particularly suited for

compositions in vilambit laya. Meends and gamaks are used in plenty.

Some think that Mamata is formed by a mixture of Shankara

and Malashree. Prominent use of Dh in Mamata makes such

a belief weak. In Malashree Dh is either completely omitted

or it is weak or durbal.

This is a morning raga. A composition in Mamata is :-

Shyam Svaroop Bhujanga--Trital (Vilambit)

—Akhouri Suraj Narayan.

A raga introduced by Pandit Hamsa Raj under the name

"Raj" in 1940 has got the same svaroop as Mamata.

Karnatak

There is no Karnatak raga called Mamata, nor one which

resembles this Hindustani raga.

123

MANAVATI

Hindustani

There is no Hindustani raga called Manavati nor one

which resembles this Karnatak raga.

Karnatak

Manavati is Melakarta No. 5 of Karnatak system (ra, ga,

ma, dhi, nu). Its old name is Manoranjani. Its jati is Sam-

poorna-Sampoorna. Aroha and avaroha of Manavati are :-

स रि₁ ग₁ म₁ प ध₂ नि₃ सं—सं नि₃ ध₂ प म₁ ग₁ रि₁ स.

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

Chatushruti Dh and Kakali Ni. According to Hindustani nota-

tion the aroha and avaroha are :-

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

Tivra Ri (री) represents Suddha Ga of Karnatak sangeet.

Manavati is not a popular raga. The following composi-

tion in this raga is available :-

Yevarito Ne Delpudu Rama—(Telugu)—Adi Tala

—Tyagaraja.

MANAVI

Hindustani

This is a rare raga. It belongs to Kafi That (Kharaharapriya). Its jati is Shadava-Shadava. Ma is omitted in both

aroha and avaroha. Aroha and avaroha of Manavi are :-

स रि ग ध नि सं—सं नि ध ग रि स.

Svaras used are Tivra Ri, Komal Ga, Tivra Dh and Komal

Ni, Vadi is Sa and Samvadi Pa. Poorvanga has the chaya of raga

Shivaranjini. There is a raga called Kolahas which has the

same svaras as Manavi. But in Kolahas Vadi svara is Pa and

Samvadi is Sa. This raga is sung during the last prahara of

night. A composition in Manavi is :-

Aye Ri Ali Piya Bina Nahi Aye—Ek Tal (Vilambit)

—Kamalakantha Joshi.

Allied Hindustani ragas are Shivaranjini and Kolahas.

Shivaranjini—Ni is not used. (See Shivaranjini).

Kolahas—Vadi is Pa. Samvadi is Sa. (See Kolahas).

Karnatak

There is no raga called Manavi in Karnatak sangeet. This

is a pleasant raga which could be included among ragas of

Kharaharapriya Melakarta.

MAND

Hindustani

This is a popular raga. It is also called Maud. Raga Mand

jati is Sampoorna—Sampoorna. This raga is characterised by

a large No. of vakra sancharas in both aroha and avaroha

which are :-

स रि म ग म ध प नि ध स ध नि ध म प

ग म ध नि ग स.

Svaras used are all Suddha svaras of Hindustani sangeet.

Vadi is Sa and Samvadi Ma. Some suggest Pa as Samvadi. In

aroha very often Ri and Ni are kept weak or durbal. Some-

times they are even omitted. If omitted then the aroha will

sound like Nagasvaravali. Hence they are used atleast in

vakra sancharas.

Mand is not considered to be a high class raga. But it is

a very pleasing raga. It is particularly suited for Bhajans. This

raga is very popular in Maharastra stage music. Mand can be

sung at any time of day or night. (Sarvakala raga).

The following compositions are popular,

Kharato Prema—Marathi stage song from the play

Manapaman.

Thakura Tava Sharana - Trital (Madhya) - Bhajan.

Karnatak

Hindustani raga Mand has gained popularity in the South.

It is called Mand and is sung in the same style as in North

India. It comes under the Melakarta Dheerasankarabharana

which corresponds to Bilaval That (ri, gu, ma, dhi, nu).

Aroha and avaroha of this raga are :-

स ग2 म1 प ध2 —स नि3 ग2 म प ध1 नि2 स.

Svaras used are Chatusruti Ri,antara Ga, Suddha Ma,

Chatusruti Dha and Kakali Ni.

According to Hindustani notation aroha and avaroha

are :-

स ग म प ध स—नि ध प म ग नि स.

A composition in Mand is:-

Janaki Manoharam Baje Ham (Sanskrit)—Adi Tala

—Mysore. B. Vasudevachar.

MANDARI

Hindustani

There is no Hindustani raga called Mandari. A type of

Maligaura in which Dhi is completely dropped resembles

Karnatak raga Mandari. Type of Maligaura in which Dh is

omitted has the following aroha and avaroha,

स रि म प नि स—स नि प म ग नि स.

(See Maligaura).

Karnatak

In some books Mandari is put under Melakarta No. 50,

Namanarayani. In this Melakarta Kaisiki Ni is used. Mandari

as sung at the present day uses Kakali Ni As Dh is not used

it can come under either of the two Melakartas, Kamavardhini

or Gamanashrama. According to the proceedure adopted for

determining the Melakarta under which a raga should be placed,

Mandari should come under the 51st Melakarta, Kamavardhini

This is the decision arrived at by the Madras Music Academy

also. But some put in under No. 52 Melakarta, Gamanashrama

(ra, gu, mi, dhi, nu).

Jati of Mandari is Shadava—Shadava. Dh is not used.

Aroha and avaroha of Mandari are,

126

RAGANIDHI

स ri1 ग2 म2 प नि3 सं—सं नि3 प म2 नि1 स.

Svaras used are Suddha Ri, Antara Ga, Prati Ma and

Kakali Ni. According to Hindustani notation the aroha and

avaraha are :-

स ri1 मं प नि3 सं—सं नि3 प मं ग ri1 स.

The following composition in raga Mandari is a popular

one.

Ninnu Cheppa Karana Memi (Telugu)—Adi Tala

—Pattanam Subram Iyer.

MANGALA KAISHIKI

Hindustani

There is no Hindustani raga called Mangala Kaishiki. This

raga can be introduced into Hindustani sangeet under ragas of

Bhairav That (Mayamalava gaula).

Karnatak

Mangala Kaishiki is a janya of the 15th Melakarta Maya-

malavagaula (ra, gu, ma, dha, nu) which corresponds to Bhairav

That of Hindustani. Mangala Kaishiki is of the following

Types :-

1. Sampoornajati with Ri omitted in aroha. 3. Shadava-Sampoornajati

jati with Ri omitted in aroha. 3. Shadava-Sampoornajati

with Ni omitted in aroha.

Aroha and avaroha of the above types are :

TYPE I

Sampoornajati

स ri1 ग3 म1 प म1 ध1 नि3 सं—सं नि3 ध1 प म1 ग3 ri1 स.

According to Hindustani notation they are :-

स ri1 ग म प धू नि सं—सं नि धू प म ग ri1 स.

TYPE II

Shadava-Sampoornajati

स ri1 म1 ग3 प म1 ध1 नि3 सं—सं नि3 ध1 प म1 ग3 ri1 स.

According to Hindustani notation they are :-

स ri1 म ग धू नि सं—सं नि धू प म ग ri1 स.

Svaras used in all the above types are Suddha Ri, Antara

Ga, Suddha Ma, Suddha Dh, and Kakali Ni.

Mangala Kaishiki is not a popular raga. The following

compositions are available.

TYPE II

Prematoda Nanu Vilichi---(Telugu)---Adi Tala

—Tiruvattiyur Tyagaraja.

TYPE III

Shri Bhargavi Bhadram Dishatu (Sanskrit)

—Mishra Eka Tala--Muttuswamy Dikshitar.

MANIRANGU

Hindustani

There is no Hindustani raga called Manirangu. It is a

pleasing raga which could be introduced to Hindustani sangeet

under ragas of Kafi That (Kharaharapriya). It can form a type

of Saranga.

Karnatak

Manirangu is derived from the 22nd Melakarta Kharahara-

priya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi

That. Jati of Manirangu is Audava-Shadava. Ga and Dh are

omitted in aroha. In avaroha Dh is not used. Aroha and

avaroha of Manirangu are :-

127

MANIRANGU

128

RAGANIDHI

स ri2 म1 प नि2 सं -सें नि3 प म1 म2 स ri2 स.

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

According to Hindustani notation the aroha and avaroha are :-

स ri म प नि सं—सें ri प म ग्‌ ri स.

In avaroha the elongated Ga gives a peculiar charm to Manirangu, Use of Ga makes this raga different from Madhyamavati. The following compositions in Manirangu are popular.

Ra Nidhi Radu (Telugu) – Adi Tala–Tyagaraja.

Mamava Pattabhirama – (Sanskrit)–Misra Laghu Tala

Muttuswamy Dikshitar.

Karnatak raga Pushpalatika has some resemblance to Manirangu. (See Pushpalatika)

MANJARI

Hindustani

Manjari is a rare raga. It belongs to Poorvi That (Kamarvardhini). As extraneous svaras are freely used in this raga it is difficult to give its svaroop properly. Its jati is Shadava–Sampoorna. Ri is not used in aroha. Aroha and avaroha of Manjari are :

स ri - म -म प -ग म ग्‌ -में ग ri स - नि स-रिं नि ri से -सें नि ध्‌प.

म -ग ri स - नि - ध्‌प - प -म ri स.

Svaras used are Komal Ri, Tirra Ga, Komal and Tivra Ma, both Komal and Tivra Dh and Tivra Ni. Pakad or Gunjan svara groups consist of :

संप - म प - नि प - म प - म ri स.

These groups of svaras sound like Poorva Kalyan. But use of Komal Ma and Komal Dh changes the svaroop. Vadi is Sa and Samvadi Pa. Here and there. chayas of Hindol Mand and Sampoorna Bibhas are found.

Chalan of Manjari is as under :-

129

MANJH

प -प ध्‌प -प धा - प -मं ग ri स - सम - मा -म प -म पा -

मं च ri स - ri नि ध्‌प -मं ग ri स -प धा प -मं ग ri स - riं नि ri सं.

सं नि ध्‌प - नि -मं ग ri सं - नि स - नि प ध्‌प - प धा -मं ग ri स.

Manjari is a morning raga. A composition in Manjari is :-

Bhora Bhayee Mohana Pyare–Jhaptal (Madhya)

Hindustani ragas Bhatiyari (one type), Hindol Pancham, Lalit Pancham, Basant Pancham and Lalitha (different from Lalit) resemble raga Manjari.

Hindustani raga Manjari has no resemblance to the Karnatak raga Manjari.

Karnatak

Manjari is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani. Jati of Manjari is Sampoorna–Sampoorna with vakra sancharas of Ga and Ni in aroha. Aroha and avaroha of Manjari are ;-

स ri2 ri2 नि2 स ri1 प नि3 नि3 सं—सं नि2 ध2 प म2 ग2 ri2 स.

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

स ri नि म प नि सं—सें नि ri प म ग ri स.

Excepting the Vakra sanchara प नि ri सं in avaroha Manjari resembles Kharaharapriya very much. The following composition in raga Manjari is popular.

Patti Biduva Raru Na Cheyu (Telugu)–Adi Tala

—Tyagaraja.

MANJH

Hindustani

This is a rare raga and one which is difficult to render. This raga is a mixture of Mand, Khamaj and Bilaval ragas. Angas of above mentioned ragas are found as under :-

9

130

RAGANIDHI

Mand—ri—ga—ni—sa—ma—pa—dha—ni—saṃ. Khamaj—

ma ma dha ni saṃ. ṣa ma pa ni ri sa. Bilaval—ni ṣa pa ma ga—ma pa sa—

ri—sa.

Svaras used are all Suddha svaras of Hindustani sangeet.

In this raga Ri is kept isolated. Vadi is Ga and Samvadi Dh.

Commencement of the raga is as under :

sa—ri ṣa—sa—ga—pa sa—dha—sa ri ṣa—ni ṣaṣ.

Chalan of raga Manjh is as uder :—

ni ṣa ṣa—pa sa—ṣaṃ—ga—pa ma—sa ri ṣa—ni ṣaṣ.

ga ma dha—saṃ—ni ṣa ṣa—sa ni ṣa—dha pa—pa—dha paṃ ga—pa

ma—ni sa ri—sa—ni ṣa—ṣa.

A composition in this raga is :—

Bahuta Bahuta Din Pacche—Ek Tal (Madhya).

Karnatak

There is no Karnatak raga called Manjh, nor one which

resembles this Hindustani raga.

Raga Manji of the South has no resemblance to raga

Manjh of North.

MANJI

Hindustani

There is no Hindustani raga called Manji, nor one which

resembles this Karnatak raga.

Hindustani raga Manjh has no resemblance to the Karnatak

raga Manjh (See Manjh).

Raga Manji is a janya of the 20th Melakarta Natabhairavi

(ri, gi, ma, dha, ni) which corresponds to Asavari That of

Hindustani. There are two arohas and avarohaṣ suggested

for this raga as under :—

1. Sampoorna-Sampoorna with a vakra sanchara in

avaroha.

sa ri2 ga1 ma1 pa dha2 ni3 saṃ—sa ni2 dha1 pa ma1 ga2 ri2 sa.

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MANOHAR

According to Hindustani notation they are:—

sa ri gū ma pa dha ni saṃ—saṃ ni dha pa ma gū ri sa.

2. Shadava-Shadava :—Dh is omitted.

sa ri2 ga m1 pa ni2 saṃ—saṃ ni2 ma2 pa m1 ga2 ri2 sa.

According to Hindustani notation the aroha and avaroha

of Shadava-Shadava type are :—

sa ri gū pa dha saṃ—saṃ ni pa gū ri sa.

Svaras used in both types are Chatusruti Ri, Sadharana

Ga, Suddha Ma, both Suddha and Chatusruti Dh and Kaisiki

Ni.

The first type is popular. This type resembles the Karnatak

raga Bhairavi very much. As in Bhairavi, Chatusruti Dh is

used in aroha. Hence this is also a Bhashanga raga like

Bhairavi. This is a difficult raga. Hence alap and svara singing

of this raga are attempted by only expert musicians. Compo-

sitions in this raga are very few. The following composition is

however occasionally heard.

Brovamma Tamasa—(Telugu)—Chapū Tala

—Syama Sastry

The second type corresponds to the raga Pushpalatika

which is derived from the 22nd Melakarta Kharaharapriya. (See

Pushpalatika). There are no compositions in this type.

MANOHAR

Hindustani

Manohar is a rare raga. This raga is different from Mano-

hari. (See Manohari). Manohar belongs to Poorvi That

(Kamavardhini). It is said to be formed by the fusion of

Marwa, Triveni and Gauri ragas. Its jati is Shadava-Sampoorna.

Pa is omitted in aroha. Aroha and avaroha of Manohar are :

sa ri ga ma dha—ni ṣa saṃ—saṃ ni dha pa ma ga ri sa.

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Komal

Dh, and Tivra Ni. There is vakra sanchara in both aroha

and avaroha. Pakad or diagnostic svara groups are :—

132

RAGANIDHI

प म न ध - प न ध सं प ध प नि ध प - प म न ध स or प मं मं धि स.

Vadi is Ga and Samvadi Dh. Svaragroups प म न ध स is not used. प न धि स or प मं मं धि स are used.

This is an evening raga. A composition in Manohar is :

Ataki Manohar Naina—Trital (Madhya).

Hindustani ragas Poorja Dhanashree, and Basant resemble raga Manohar.

Poorja Dhanashree—प मं मं धि प is frequently used.

(See Poorja Dhanashree)

Basant—Ri is prominently used as in स रि ग म प ध स ṅ. Komal Ma is also used. (See Basant).

Karṇatak

There is no raga called Manohar in Karṇatak sangeet

There is a raga called Manohari (See Manohari). Raga Kamavardhini with Pa omitted in aroha will sound like Manohar.

(See Kamavardhini).

MANOHARI

Hindustani

Karṇatak raga Manohari was introduced into Hindustani sangeet by Prof Umdekar of Gwalior. This raga is different from raga Manohar (See Manohar). Manohari belongs to Kafi That (Kharaharapriya). Jati of Manohari is Shadava-Shadava. Ni is dropped in both aroha and avaroha. Aroha and avaroha are :-

स रि स - गू रि ग - र प ध स—सं ध प - म प - रि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma and Tivra Dh. Pakad or Gunjan svaragroups are :- रि ग रि .

स रि प स—सं ध प . म प रि स. Vadi is Sa and Samvadi Pa.

Manohari is sung during the third prahara of night. It is not a popular raga. Following composition in this raga is available

Jugasī Biṭaṭa Gharī Pālā—Trital (Madhya).

Ragas Gopikambodi and Shivarānjini have resemblance to Manohari.

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MANOHARI

Gopikambodi—There are no vakra sanchāras. Ni is used in aroha (See Gopikambodi).

Shivarānjini—Ma is not used. (See Shivarānjini).

Karṇatak

Manohari of Karṇatak sangeet is derived from the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani sangeet. Its jati is Shadava-Shadava. Two different arohas and avarohaas are mentioned.

TYPE I

Ni is omitted. There is vakra sanchāra in aroha. Aroha and avaroha are :-

स रि ग म प ध स ṅ—सं ध प म ग रि स.

TYPE II

Ri is omitted. Aroha and avaroha are :-

स ग म प ध नि स ṅ—स नि ध प म ग स.

Svaras used are Chatusruti Ri, Sadharā Ga, Suddha Ma, Chatusruti Dhi and Kaisiki Ni.

According to Hindustani notation the aroha and avaroha are :-

Type I. स रि ग म रि ध स ṅ—स ध प म गू रि स.

Type II. स गू म प ध नि सं—स नि ध प म गू स.

Type I corresponds to Hindustani raga Manohari.

Type II is allied to the Hindustani raga Jayanth which has the following aroha and avaroha.

स गू म प ध सं—स नि ध प म गू स.

In Jayanth Ni is not used in aroha. (See Jayanth).

A composition in Type I of this raga is :-

Paritāpamu Kani Yādina (Telugu)—Rupaka Tāla

—Tyāgarāja.

Type II of Karṇatak Manohari resembles the Karṇatak raga Malavashree which is also a janya of Melakarta Khara-

134

RAGANIDHI

harapriya (Kafi That). Aroha and avaraha of raga Malawashree are as under :-

स ग म प ध नि प ध नि - सं नि ध प म ग म

In Malavashree there are a few vakra sancharas in aroha.

(See Malavashree)

According to Dikshitar school raga Manohari is a janya of

33rd Melakarta Gangeayabhushini (ru, gu, ma, dha, nu). Aroha

and avaroba, for this type III of Manohari are ;-

स ग2 म प ध नि सं - सं नि3 ध1 प म1 ग2 स

Svaras used are Antara Ga, Suddha Ma, Suddha Dha and

Kakali Ni. According to Hindustani notation the aroha and

avaroba are :-

स ग म प ध नि मं - सं नि ध प ध म ग स

This Type III of Manohari makes the study of this raga

interesting. The following composition is available in Type III

of Manohari.

Shankaramabhirami Manohari (Sanskrit)— Rupaka Tala

— Muttuswamy Dikshitar.

MANORANJINI

Hindustani

There is no Hindustani raga called Manoranjini, nor one

which resembles this Karnatak raga. Manoranjani is an in-

teresting raga and can be introduced into Hindustani sangeet.

Aroha and avaroha of this raga are :

स रि म प ध नि सं - सं नि ध प म रि स

In avaroha both Tivra and Komal Ri occur side by side

and sound beautiful

Karnatak

According to Dikshitar school, Manoranjani is the name

of present day Melakarta Manavati.

Manoranjini is a janya of the 5th Melakarta Manavati (ra,

ga, ma, dhi, nu). Its jati is Shadava-Sampoorna. In aroha

Ga is not used. Aroha and avaroha of Manoranjini are ;

MARGA BIHAG

135

स रि1 म1 प ध3 नि3 सं - सं नि3 ध2 प म1 रि1 स

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

Chatushruti Dha and Kakali Ni. According to Hindustani nota-

tion the aroha and avaroha are :

स रि म प ध नि - सं नि ध म रि स

(Tivra Ri - f- represents Suddha Ga of Karnatak system)

Manoranjini is a rare raga. The following composition in

this raga is available :

Atu Karadani (Telugu) — Adi Tala — Tyagaraja.

MARARANJINI

Hindustani

There is no Hindustani raga called Mararanjini 'There is

no raga which is allied to this Karnatak raga.

Karnatak

Mararanjini is Melakarta No. 25 of Karnatak sangeet (ri,

gu, ma, dha. na). Old name for this raga is Sharavati. Aroha

and avaroha of Mararanjini are :

स रि2 ग2 म1 प ध1 नि1 सं - सं नि1 ध1 प म1 ग2 रि2 स

(Tivra Dh -g- represents Suddha Ni of Karnatak sangeet).

Mararanjini is a rare raga. The following composition in

this raga is available :

Manasa Shri Rama Ni Daya (Telugu) - Adi Tala

— Tyagaraja.

MARGA BIHAG

Hindustani

Marga Bihag is slightly different from Maru Bihag

although they resemble each other very closely. Marga Bihag

belongs to Kalyan That (Mechakalyani). Its jati is Audava-

Sampoorna. In aroha Ri and Dha are omitted. Aroha and

avaroba of Marga Bihag are :

136

RAGANIDHI

स ण ङ प निसं—सं नि ध प मं रि स.

Svaras used are Tivra Ri, Tivra Ga, Prati Ma, Tivra Dha and Tivra Ni. In Marga Bihag only Tivra Ma is used. Maru Bihag both Komal and Tivra Ma are used. Pakad or diagnostic svara groups are :

म ण - ङ - रि स - स ण ङ प - ण ङ.

Samvadi Ni. This raga is sung during the second prahara of night. A composition in Marga Bihag is :

Mana Tyag De Ho Pyari - Ek Tal (Vilambit) -

S. N. Ratanjankar.

Maru Bihag resembles Marga Bihag very closely.

Maru Bihag—Komal Ma is also used and it is kept isolated and elongated. (See Maru Bihag).

Karnatak

There is no Karnatak raga called Marga Bihag. Raga Suddha Kosala which is janya of the 65th Melakarta Mecha-kalyani (Kalyan That) resembles Marga Bihag. It is a Chatuswari-Shadava raga. Aroha and avaroha of Suddha Kosala are :

स ण ङ प ण ङ—सं नि ध प मं रि स.

In aroha Ri, Pa and Dha are omitted. In avaroha Pa is not used. Svaragroups स ण ङ and ण ङ प ri स sound like Marga Bihag.

Shuddha Kosala is an interesting raga. But it is not a popular one.

MARGA DESHI or MARGA DESHIKA

Hindustani

There is no Hindustani raga called Marga Deshi or Marga Deshika. Marga Deshika is obtained by introducing Ma in avaroha of raga Bibhas as shown below :

Bibhas - Aroha and avaroha are :

स रि ग प ध सं—सं धु प म ग रि स

Marga Deshika—Aroha and avaroha are :

स रि ग प धु सं—सं ध म प ग रि स.

137

MARGA HINDOLA

Karnatak

Marga Deshika is a janya of the 15th Melakarta Maya-malavagaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That of Hindustani. Its jati is Audava-Shadava. In aroha Ma and Ni are omitted. In avaroha Ni is not used. Aroha and avaroha of Marga Deshika are,

स रि ग म प सं—सं ध म प ग रि स.

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

ष ति ग प म सं—सं ध म प ग ति ष.

There is a vakra sanchara in aroha.

Although this is an interesting raga it is not a popular one It is a rare raga.

According to Dikshitar school, Marga Deshi is a Shadava raga. Ni is omitted completely. There are vakra sanchras in both aroha and avaroha. Aroha and avaroha are :

स रि म ग ति ग प ध सं—सं ध म प ग रि स.

According to Hindustani notation the aroha and avroha are :

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

A composition in this type of Marga Deshi is,

Mangala Devale Paradevate (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

MARGA HINDOLA

Hindustani

There is no Hindustani raga called Marga Hindola. Koushi Kanada (Asavari That) has some resemblance to Marga Hindola types derived from the Natabhairavi Melakarta (Asavari That) Koushi Kanada (Asavari That) has the following aroha and avaroha :-

नि  द – म  S – म  ग  प  ग  S – म  नि – पु  नि  सं—सं  नि  ध  म  प –

ग – म  ग – रि स.

(See Koushikanada-Asavari That).

Karnatak

Marga Hindola is also called Sampadveshini by some.

There is difference of opinion regarding the Melakarta to which

this raga should belong. It is considered by some (including

Dikshitar school) to be a janya of the 20th Melakarta Nata-

bhairavi (Asavari That). After carefal discussions it has been

decided by the Experts' Committee of the Madras Music Aca-

demy that Marga Hindola should be considered to be a janya

of the 22nd Melakarta Kharaharapriya (Kañ That).

TYPE I

Marga Hindola (Kharaharapriya Janya)—Jati of this type

is Sampoorna-Audava. Pa and Ri are omitted in avaroha.

Aroha and Avaroha are :

स  रि 2  ग 1  म 1  प  ध 2  नि 2  सं—सं  नि 2  ध 2  म 1  ग 2  स.

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

Chatusruti Dh and Kakali Ni. According to Hindustani nota-

tion they are :

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

It is suggested that Tyagaraja kriti “Chala Melara” (Telugu)

in Adi Tala should be sung with the above mentioned notes of

Marga Hindola raga.

TYPE II

Marga Hindola (Natabhairavi Janya)—Jati of this type is

Sampoorna-Shadava. Ri is not used in avaroha. Aroha and

avaroha are :

स  रि 2  ग 2  म 1  प  ध 1  नि 2  सं—सं  नि 2  ध 1  प  म 1  ग 2  स.

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

Suddha Dh and Kaisiki Ni. According to Hindustani

notation they are :

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

The following kriti of Tyagaraja is more often sung with

the above aroba and aroha of Marga Hindola.

Chala Melara Saketa Rama (Telugu)—Adi Tala

—Tyagaraja

TYPE III

Marga Hindola (Natabhairavi Janya)—According to

Dikshitar school the aroha and avaroha are :-

स  म 2  म 1  प  S  म 1  ध 1  नि 2  सं—सं  ध 1  न 1  प  म 2  ग  रि 2  स.

Jati is Shadava-Audava. Ri is omitted in aroha and Pa is

not used in avaroha. According to Hindustani notation they

are :

स  म  प  S  म  ध  नि  सं—सं  व  म  ग  स  रि  स.

There are vakra sancharas in aroha and avaroha. A

composition in this type of Marga Hindola is,

Marga Hindola Raga Priya (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

MARU BIHAG

Hindustani

Maru Bihag is said to have been introduced by late Ustad

Allauddin Khan, the noted musician of Bombay. This raga is

therefore a recent one.

Maru Bihag and Marga Bihag are two slightly different

ragas. In Maru Bihag both Komal and Tivra Ma are used.

In Marga Bihag only Tivra Ma is used.

Maru Bihag belongs to Kalyan That (Mechakalyani). Its

jati is Audava-Sampoorna. Ri and Dh are omitted in aroha

Aroha and avaroha of Maru Bihag are :

पु  धि  स  ग – म  प – नि  सं

or

स  न  – ग  मं  प – प  मि  सं—प  सं  ग – म  ग  मं  म  ग

रि  स–धि  नि  स  म  S

or

सं  नि  ध  सं  ग– मं  रि  स–  धि  नि  स–  म  S.

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RAGANIDHI

Svaras are Tivra Ri, Tivra Ga both Suddha and Parti Ma, Tivra Dh and Tivra Ni. Pakad or diagnostic svara groups are

स र स स - ग म - प धि व - मं ग म प धि स नि स स.

of Suddha Ma as

धि स म स स

and use of Prati Ma as

ह प म प . मं ग हि स

are features of this raga. They give a special charm and individuality to Maru Bihag.

Vadi is Ga and Samvadi is Ni. Sometimes both Madhyams are used side by side as

प मं प.

But the svara group

प धि प

मं प

is not used as that becomes Bihag. Maru Bihag is a combination of Bihag in aroha and Kalyan in avaroha. It is sung with Bihag anga. Why it is called Maru Bihag is not known. It has nothing to do with Marwa as is known from its swaroop. It has sringara rasa. Thi raga is sung in the night.

Compositions in this raga are :

Rasiya Ho Na Ja–Ektal – (Vilambit).

Brija Juvati–Trital (Madhya)–S. N. Ratanjankar.

Hindustani ragas Marga Bihag and Bihag resemble Maru Bihag.

Marga Bihag–Only Tivra Ma is used. (See Marga Bihag)

Bihag–Komal Ma is more important. Svaragroup

प धि

न स

प

is not used with Prati Ma in a straight way (See Bihag).

Karnatak

There is no Karnatak raga called Maru Bihag. Karnatak raga Bihag has some resemblence to Maru Bihag. But it resembles raga Bihag and Bihagada of Hindustani sangeet more than Maru Bihag. (See Bihag).

MARUVA or MARWA

141

Svaras used are Komal Ri, Tivra Ga, Tivra Ma, Tivra Dh and Tivra Ni. Pakad or Gunjan svara groups are,

व स मं धि स - ग मं ग - धि स ग.

Vadi is Ri and Samvadi Dh. Sangatis

ह व स

and

झ व स

are very pleasing. Halts on Ri and Dh give a characteristic charm to this raga. In raga Marwa Ni should not be given prominence to as 'it will produce a Pooriya effect. While singing this raga Sa of Tara saptak is not taken at once. Raga is sung without using tara Shadja for some time. After keeping the audience in expectation for sometime, tara Shadja is reached. Tanas in this raga end mostly on svara Ri. Important svaras in this raga are Ri, Dh and Ga in order of importance.

Marwa is sung during the last prahara of the day. Popular compositions in Marwa are :

Piya More Anatha – Trital (Vilambit).

Suna Suna Batiya–Trital (Madhya).

Hindustani ragas Pooriya and Sohani have great resemblance to Marwa.

Pooriya–Vadi is Ga. Samvadi is Ni. (See Pooriya)

Sohani – This is an uttaranga raga. (See Sohani).

Karnatak

There is a raga called Maruwa in Karnatak sangeet. It is a rare raga. It is a janya of the 15th Melakarta Mayamalava–gaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That of Hindustani sangeet. Its jati is Audava–Sampoorna with vakra sanbhara in aroha. There are two types.

TYPE I–Ri and Dh are omitted in aroha,

TYPE II–Ri and Pa are omitted in aroha.

TYPE I

MARUVA or MARWA

Hindustani

Maruva or Marwa is a very popular Hindustani raga. It is the most important raga of Marwa That. Hence it is called the Ashraya raga of Marwa That (Gamanasrama). Jati of Maruva is Shadava–Shadava. Pa is omitted. Aroha and avaroha of this raga are ;

स रि2 . ग म प स . नि2 स -# स - ध स . नि2 स . म1 ध1 . स

Aroha and avaroha are :

स ग2 म1 प धि सं–सं नि3 ध1 म1 ग2 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 ग म प नि सं–सं नि धू म प ग रि स.

142

RAGANIDHI

There are no compositions in this type of Maruva.

TYPE II

Aroha and avaroha are :-

स ग₂ म₁ ध₁ नि₃ सं-नि₃ ध₂ प ध₂ म₁ ग₂ रि₁ स

According to Hindustani notation they are :

स ग म धु नि सं-सं नि धु प ध म ग रि नि स.

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

Dh and Kakali Ni.

There is yakra sanchara in aroha. A composition in this

type of Maruva is :

Maruvakādi Mālini Sūlini - (Sanskrit) - Adi Tala

—Muttuswamy Dikshitar.

Neither of the types of Maruva of Karnatak described

above has any resemblance to the Hindustani Marwa or

Maruva.

There are no Hindustani ragas which resemble the two

types of Karnatak Maruva.

Karnatak raga Hamsanandi which is derived from the 54th

Melakarta Gamanashrama (Marva That) resembles raga Marva

of Hindustani sangeet according to the svaras used in aroha

and avaroha.

Aroha and avaroha of raga Hamsanandi are :

स रि₂ म₂ ध₂ नि₃ सं-सं नि₃ ध₂ प म₂ ग₂ रि₂ स

(See Hamsanandi)

In actual rendering of raga Hamsanandi has greak

blance to raga Sohoni than to either Marwa or Poorīt

the aroha and avaroha for all the three Hindustani rì

same but the Vadi and Samvadi svaras are different.

MARU DHANYASI or MARUVA DHA

Hindustani

There is no Hindustani raga called Marwa Dh

Maruva Dhanyasi. Hindustani raga Kafi reseml

Dhanyasi of South in certain sancharas. (See Kafi)

143

MARU SARANG

Karnatak

Maruva Dhanyasi is a Janya of the 22nd Melakarta Khara-

harapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That

of Hindustani sangeet. Jati of this raga is Audava - Sampoorna.

Aroha and avaroha are :

स रि₂ म₁ प ध₂ सं-सं ध₂ प म₁ ध₁ म₁ ग₂ रि₂ स.

or

सं ध₂ प म₂ ग₂ ध₂ स

Svaras used are Chatsruti Ri, Sadharana Ga, Suddha Ma

Chatsruti Dh and Kakali Ni, According to Hindustani,

notalion the aroha and avaroha are :

स ग म ध नि सं-सं नि ध प म ग ध स

or

सं नि ध प म ग धि स.

Maruva Dhanyasi is a rare raga. The following composi-

tions in this raga are available,

Nanu Brova Yanta Jagalara (Telugu) - Adi Tala

—Tiruvottiyur Tyagaraja.

Mainda Bhashana Nata Vibhishana (Tamil)

—Deshadi Tala.

MARU SARANG

Hindustani

This rare raga belongs to Kafi That (Kharaharapriya). Its

jati is Audava-Audava. Ga and Dh are not used. Aroha and

avaroha are :

स रि ग म नि सं-सं धि प म रि - नि स

Svaras used are Tivra Ri, Suddha Ma, both Komal and

Tivra Ni. In aroha Tivra Ni and in avaroha Komal Ni as in

Brindavani Sarang are used.

Maru Sarang resembles Bridavani Sarang very closely. In

Maru Sarang in mandra sthayee Komal Ni is elonagated as

म रि नि. s and gives a beautiful effect. Halt on Komal Ni

in mandra sthayee gives this raga an individuality.

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RAGANIDHI

Bridayani Sarang resembles Maru Sarang.

Brindavani Sarang—Komal Ni is not elongated in mandra sthayee (See Brindavani Sarang).

Karnatak

Maruva Saranga belongs to the 47th Melakarta Suvamangi (ra, gi mi, dhi, ni). Its jati is Sampoorna-Shadava with vakra sanchara in both aroha and avaroha. Ni is not used in avaroha Aroha and avaroha of Maruva Saranga are :

स ri1 ग2 म2 प म3 ध2 नि3 सं—सं ध2 प म2 ग2 ri2 स.

Svaras used are Suddha Ri, Sadharana Ga, Prati Ma, Chatushruti Dhi and Kakali Ni. According to Hindustani notation they are :

स ri2 म प ध सं—सं ध प ri ग ri2 स.

Maruva Saranga of Karnatak has no resemblaice to Maru Sarang of North. It is a pleasing raga but not popular. Compositions in this raga are not available.

Karnatak raga Brindavani Sarang (one type) resembles Maru Sarang of North.

MAYAMALAVAGAULA

Hindustani

There is no Hindustani raga called Mayamalavagaula. Raga Bhairav of Hindustani corresponds to Mayamalavagaula of Karnatak. Bhairav has the following aroha and avaroha :

स ri ग म प ध नि सं—सं नि ध प म ग ri स.

Karnatak

Mayamalavagaula is the 15th Melakarta (ra, gu, ma, dha, nu). Its old name was also Mayamalavagaula. This corresponds to Bhairav That of Hindustani Sangeet.

Its original name is Malavagaula. Word Maya is the prefix given to it for purposes of Katapayadi Sankhya scheme for determining the number of the Melakarta and thereby the svaras used in the Melakarta.

145

Mayamalavagaula is a Sampoorna-Sampoorna raga. Its aroha and avaroha are :

स ri1 ग3 म1 प ध1 नि3 सं—सं नि3 ध1 प म1 ग3 ri1 स.

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

स ri ग म प ध नि सं—सं नि ध प म ग ri स.

This is a popular raga. Students of Karnatak sangeet are given the first lessons of Alankaras, Varises etc. in Maya-malavagaula. This raga is held in great reverence aa it is an ancient raga.

Following compositions are very popular.

Meru Samana (Telugu)—Adi Tala—Tyagaraja.

Kalinaruluku Nee Mahima (Telugu)—Adi Tala

—Mysore, B. Vasudevachar.

MAYAPRADEEPA

Hindustani

There is no Hindustani raga called Mayapradeepa, nor one which resembles this Karnatak raga. It can be included among ragas of Kafi That. Its aroha and avaroha are :-

स ग म प ध नि सं—सं ध प म ग ri स.

Karnatak

Mayapradeepa belongs to the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi That. Jati of this raga is Shadava-Shadava. In aroha Ri and in avaroha Ni are left out. There is vakra-sanchara in aroha. Aroha and avaroha are :-

स म1 ग3 म1 प ध1 नि2 सं—सं ध2 प म2 ri2 नि2 स.

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

स ग म प ध नि सं—सं ध प म ग ri स.

A composition in this raga is :-

Tappa Mannisou Taye (Kanarese)—Adi Tala

—Mutbiah Bhagavalar.

146

RAGANIDHI

MAYURADHVANI

Hindustani

There is no Hindustani raga called Mayuradhvani. Raga Sorat of Hindustani sangeet resembles Mayuradhvani which is another name for the Karnatak raga Andolika (See Sorat).

Karnatak

Mayuradhvani is not mentioned even in recent books on Karnatak sangeet.

This name seems to be another name for the raga Andolika. The kriti “Raga Sudharasa” of Shri Tyagaraja which was in Mayuradhvani is sung in the raga Andolika which is also a janya of the 22nd Melakarta Kharaharapriya. (See Andolika).

MECHABHAULI

Hindustani

There is no Hindustani raga called Mechabhauli. Aroha of Mechabhauli resembles that of Bibhas and avaroha of Bhairav of Hindustani (See Bibhas and Bhairav).

Karnatak

Mechabhauli is a janya of the 15th Melakarta Mayamalava-gaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That of Hindustani. Its jati is Audava-Sampoorna. Ma and Ni are omitted in aroha. Aroha and avaroha of Mechabhauli are:-

स ri म2 प ध1 सं—सं म3 ग ri म1 प ध1 सं ri स.

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

Açcording to Hindustani notation the aroha and avaroha are :

स ri ग प ध सं—सं नि ध प म ग ri स.

A composition in this raga is :-

Devi Divyanama Sundari (Sanskrit)—Rupaka Tala

—Subbarama Dikshitar.

Karnatak raga Gumma Kambhodi resembles Mechabhauli.

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MECHAKANGI

MECHAKALYANI

Hindustani

Kalyan or Yaman of Hindustani sangeet corresponds to Mechakalyani of South by which name the melakarta Kalyani is known. Yaman or Kalyan has the following aroha and avaroha. स ri गं प ध नि सं—सं नि ध प मं ग ri स. (See Kalyan)

Karnatak

Mechakalyani is the 65th Melakarta (ri, gu, mi, dhi, nu) of Karnatak sangeet. Word Mecha has been prefixed to Kalyani for purposes of Katapayadi Sankhya scheme for finding out the number of the melakarta and thereby the svaras used. The old name for Mechakalyani is Shanta Kalyani. It is generally called Kalyani and has been described under that name. (See Kalyani).

MECHAKANGI

Hindustani

There is no Hindustani raga called Mechakangi. Hindustani raga Poorva Kalyan resembles Mechakangi of Karnatak. Poorva Kalyan has the following aroha and avaroha :-

स ri. ग म प - ध - नि सं—सं नि प - म ग ri स.

Vakra sanchara in Poorva Kalyan is however different from those found in Mechakangi. (See Poorva Kalyan).

Karnatak

Mechakangi is a janya of the 53rd Melakarta Gamana-shrama (ra, gu, mi, dhi, nu) which corresponds to Marwa That of Hindustani. Mechakangi is a Sampoorna-Sampoorna raga with vakra sanchras in both aroha and avaroha. Aroha and avaroha Mechakangi are :

स ri ग3 म2 - प ध2 प नि3 सं—सं नि3 - प ध2 - प म2 ग3 ri स.

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

स ri म - ग ध - प नि सं—सं नि - प ध - प म ग ri स.

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RAGANIDHI

Mechakangi is not a popular raga. The following composition in Mechakangi is available :-

Gopika Manobara Nadu (Tehugu) --Adi Tala

--Tiruvottiyur Tyagaraja.

Mechakangi resembles Poorvi Kalyani.

Poorvi Kalyani :-Only ग म प ध नि सं is used in aroha and not प ध प नि सं. In avaroha there is no vakra sanchara. (See Poorvi Kalyani).

MEEN

Hindustani

This is a raga belonging to Todi That (Subhapantuvarali).

Its jati is Audava-Audava. Ma and Ni are not used. Aroha and avaroha of raga Meen are :

स - नि ध - ध प - ग प ध स—सं ग़ें धि - ग़ धि -सें -ध प

ध प - ग प ग़ नि धि स.

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

ग़ धि स ग़ धि स - SSS - SSग़ म धि - ग़ स धििSSग़पSSध़ि

Vadi is Pa. Samvadi is Sa. Sangati ध प, ग़ेंSध sounds beauti-ful, This raga is sung during the first prahara of the day.

Compositions in this raga are.

Mridu Gandhara Ri Dhaivata--Ek Tal

--(Lakshanageet).

Ab ka Sovai Sakhi--Trital (Madhya).

There is no Karnatak raga called Meen nor one which is allied to this Hindustani raga.

MEGHAMBARI

Hindustani

Meghambari is another name for raga Khammaje Bhatiyar.

(See Khammajee Bhatiyar).

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MEGH OR MEGH MALHAR

Karnatak

There is no Karnatak raga called Meghambari- There is no Karnatak raga which resembles Meghambari or Khammajee Bhatiyari.

MEGH or MEGH MALHAR

Hindustani

Megh or Megh Malhar belongs to Kafi That (Kharahar-priya). Its jati is Audava-Audava. Ga and Dh are not used.

There aretwo types of this raga.

TYPE I

Aroha and avaroha of this type are :

म म म

नि प -नि स - धि रि -प म - धि नि प - धि नि सं— धि

म म म

मं धि पं धि सं नि स - नि धि प - प धि प - धि रि - नि धि स.

Svaras used are Tivra Ri, Suddha Ma and both Komal and Tivra Ni. Pakad or Gunjan svara groups are :

म म म

धि रि धि म -रि स - नि धु प - स नि धि स. Repeated use

म म म

of Ri with grace note of Ma as धि रि धि is beautiful. Tivra Ni is used in aroha aod Komal Ni in avaroha. Sometimes both

are used side by side as प नि धि स. Sometimes only Komal Ni

is used in this raga without Tivra Ni even in aroha. Sangati

रि ध प is introduced to create a Malhar effect.

Vadi is Sa. Samvadi is either Pa or Ma.

TYPE II

Aroha and avaroha of type II are :

स म रे म प नि सं—सं धि प म रि स नि धि स.

This type sounds more like Brindavani Sarang than the type I although svaras used in both are the same. While

singing Megh or Megh Malhar it is necessary to clearly bring out the difference between this raga and the closely

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RAGANIDHI

allied ragas Brindavani Saranga and Madhumad Saranga.

म म म

This is done by using म रि रि म रिस and by halting

on Ni in mandra saptak as म रि स or मि रि स. Halt is made

on Ma so that it may sound different from Sarangas. Sanchara

in mandra sthayee is another point to be remembered.

Use of two Nishadas side by side as प धि नि स also enables one

to give an individuality to this raga. Sanchara of this raga is

as under :-

म म म

म रि स - नि प - नि स - रि - म रि प - रि रि स।

म म

रि - रि म रिस - धि प - स - रि रि - रि म - रि स रि-

म

रि स रि प - म प से - नि प म रि स।

म म म म

म प नि से - से - तिं से - नि रे म रि धि स - नि प से - निप रि

म

निप्रिरिस।

Compositions in raga Megh Malhar are:

Nachata Nanda Kishora—Dhamar

—S. N. Ratanjankar.

Umanda Ghumanda Me—Jhaptai (Madhya).

Neela Gaganame—Trital (Madhya)—S. N. Mahadkar.

Hindustani ragas Brindavani Sarang and Madhumad

Sarang resemble the two types of Megh Malhar.

म म म

Brindavani Sarang :— म रि रि म रि is not used. Both

Nishads are not used as प धि नि स. Sanchara is not

prominent in Mandra Saptak. Halt is not made on

Ma (See Brindavani Sarang).

Madhumad Sarang :— म रि रि म रि स is not used. प धि

म म म

with two Nishads side by side is not usad. Halt is not

made on Ma. (See Madhumad Sarang).

Karnatak

There is a raga called Megh Malbar in Karnatak sangeet.

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MEGHARANJI OR MEGHARANJINI

This raga is a janya of 52nd Melakarta Ramapriya (ri, gu, mi,

dhi, ni). Jati of Megha Mallaru is Shadava—Sampoorna with

a vakra sanchara in avaroha. Aroha and avaroha of this raga

according to Hindustani notation are :-

स र मं प ध नि—स नि ध प मं ग रि स.

Karnatak raga Megba Malliaru has no resemblance to the

Hindustani raga Megh or Megh Malhar. Megha Mallaru is a

rare raga. It is a pleasing one and deserves to be popularised,

Karnatak ragas Brindavani Sarang and Madhyamavati

have resemblance to Megh or Megh Malhar of Hindustani

sangeet. These two Karnatak ragas are identical with Brindavani

Sarang and Madhumad Sarang of Hindustani sangeet.

There is a raga called Megharaga in Karnatak sangeet.

Although it is not a well known raga it is an interesting and

pleasing raga and deserves to be popularised. Megharagam is

a janya of the 13th Melakarta Gayakapriya (ra, gu, ma, dha,

na). Jati of Megharaga is Shadava—Shadava with vakra

sanchara in aroha. Ga is omitted in this raga. Aroha and

avaroha of Megharaga are :-

स रि1 म1 प ध1—स नि1 ध1 प म1 रि1 स.

Svaras used are Suddha Ri, Suddha Ma, Suddha Ni, and

Suddha Dh. According to Hindustani notation the aroha and

avaroha are :-

स रि म प धु प स—स धु प म रि स.

Tivra Dh (धि) represents Suddha Ni of Karnatak sangeet.

This Suddha Ni gives a peculiar beauty to the raga.

This is a rare raga. There are no compositions in this

raga.

MEGHARANJI or MEGHARANJINI

Hindustani

Megharanji or Megharanjini belongs to Bhairav That

(Mayamalavagaula). Its jati is Audava-Audava. Pa and Dh

are omitted completely. Aroha and avaroha of Megharanjini

are :-

नि धि प - म - पि धि प स - नि धि प - म - पि धि प म स

Svaras used are Komal Ri, Tivra Ga, Suddha Ma and Tivra Ni. Vadi is Ma and Samvadi Sa. This raga is sung during the third prahara of night. Sangathis स म and प म are used giving a charming effect. Ni and Ma are elongated and are pleasing. Some musicians introduce Prati Ma to give a Lalitha effect as under :- नि धि म - मं म प - धि प. Even without the use of Prati Ma Megharanji has a chaya of Lalit This raga is appealing when sung in vilambit laya. Megharanji is a rare raga. But it is a pleasing one. The following compositions are available :-

Danava Dalana Dheera—Jhaptal (Madhya)

—S. N. Ratanjankar.

Basa Basaye Ho Piya Ki Angana—Ek Tal (Vilambit).

Hindustani raga Lalit resembles Megharanjini.

Lalit :- Dh is used. Both Suddha and Prati Ma are used. Ni is not elongated (Sce Lalit).

Karnatak

Megharanji or Megharanjini is a Janya of the 15th Mela-karta Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That of Hindustani sangeet. Megharanji is an Audava-Audava raga. Pa and Dh are omitted completely. Aroha and avaroha of Megharanji are:-

स ri₁ ग ri₁ ग म₁ स - स नि₃ म₁ ग ri₁ स.

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

स ri ग म पि स स—स नि म ग ri स.

From the above aroha and avaroha it will be seen that the Karnatak raga Megharanji or Megharanjini resembles the Hindustani raga of same name. In the Karnatak raga Prati Ma however is never used. In aroha Ni is elongated more than Ma. Megharanji is not a popular raga. The following composition is available.

Smara Bhumi Sutadhipam (Sanskrit)—Adi Tala

—Mysore Vasudevaehar.

MELADALAN

Hindustani

Meladalan and Thatavidhwamsa are pseudonames which Acharya Brabaspati who is popularising the raga has given to the raga the identity of which Acharya wants to keep unpublished for certain reasons. He points out however that it is an ancient raga which he wants to bring into life again.

Meladalan means destroying Mela or That. Thatavidhwamsa also conveys the same meaning. They break the existing rules regarding Melas or Thats.

In both Hindustani and Karnatak systems Thats or Melas are Sampoorna ragas in both aroha and avaroha. Both Suddha and Prati Ma cannot be present in the same That. Both of them cannot be present side by side in either aroha or avaroha.

It has been pointed out by some musicologists that a series of Melas or Thats in which Pa is eliminated and substituted by Prati Madhyama is possible. Hindustani raga Lalit is such a one and is a very popular one. In this series in which Prati Madhyama is substituted for Panchamas 36 Thats or Melas are possible.

Raga Meladalan of Acharya Brihaspati is derived from one of these Panchama varjita-Dwi Madhyamayuta Thats or Melas.

In raga Meladalan there are six svaras in aroha and six in avaroha containing Prati Ma as a separate svara representing Pa. Hence its jati is Shadava-Shadava. In the aroha Ri is omitted. In avaroha Ni is omitted. Aroha and avaroha of this raga are :

स ग म प्‌ ध नि स—स नि ध म ग ri स.

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

Vadi is Sa. Samvadi is Suddha Ma. There is andolan on Tivra Ma. In the group of svaras स ग म प्‌ ध स the meend स ग म of raga Todi. Descending from Sa to Prati Ma and then halting on Suddha Ma creates an effectlike "ग स र" of Bhairav.

While singing this raga, the Pa wire of the tamboora

should be tuned to Ma. This creates a very pleasing effect

and gives a peculiar bhava to the raga.

In all the 36 Melas where Pa is omitted and Prati Ma takes

the place of Pa the tuning of the tamboora should be as

suggested above. While singing Hindustani raga Lalit this is

invariably done.

This raga is appealing when sung in Vilambit Laya.

Being a new raga, the svaroop of which is not properly

understood, it has yet to gain currency. A composition in

this raga is :-

Nada Sindhu Athaha Hai--Tevra Tal--Khyal and

Dhrupad--Acharya Brahaspati.

Karnatak

There is no raga called Meladalan or Thatadbwamsa.

There are no ragas in Karnatak sangeet in which the two

Madhyams occurs side by side and in which Pa is replaced by

Prati Ma. A scheme of thirty six such ragas is possible. Raga

Meladalan described above sounds like Karnatak Todi or

Hindustani Bhairavi in which Pa is replaced by Prati Ma

giving rise to a raga having the following aroha and avaroha.

स ri ग म प धु नि से--से ri धु म प ri ग स.

MIA MALHAR

Mia Malhar is supposed to have been invented by Mia

Tansen. Some doubt this. It is contended that this raga

existed before Tansen and that it was merely called Malhar.

Even now some like to call it merely Malhar.

This is a very popular raga and is considered to be a high

class one like Durbari Kanada, Malkosh etc. Mia Malhar is

put under Kafi That (Kharaharapriya). Jati of this raga is

Shadava-Shadava. In aroha ri Ga is omitted and in avaroha Dh

is dropped. Aroha and avaroha of Mia Malhar are :

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

म - प म प धि स - स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra

Dh and both Komal and Tivra Ni. Pakad or diagnostic svaras

are :-

रि म रि स - नि प म प - नि ध नि सं - प - ग म रि ग स and also

म रि प - म ग स म ग स - म - प म म धि स - स - नि धि स.

Regarding the Vadi svara, there is difference of opinion. Some

suggest Pa. some Ma and some others Sa. Some suggest Sa as

Samvadi. Other suggest Pa. Sangati ri म is used frequently. Use

of both Nishads as ri स नि सं or प नि स मि सं and सं नि धि मप

is a feature of this raga. Svaragroup म रि म स म रि स sounds

beautiful. Alapana of this raga in Mandra saptak is very

impressive. Some musicians make use of Dh in avaroha also.

But this will create confusion as chaya of Durbari Kanada is

likely to creep in,

This raga is sung between 9 p.m. and 12 p.m. It is a

seasonal raga (Mosami raga) and is sung during the rainy

season.

Compositions in this raga are :-

Karim Nam Tero--Ektal--Vilambit,

Sadho Manaka Man Tyago--Trital--Guru Nanak.

Ragas Bahar and Durbari Kanada have so many sancharias

and chayas of Mia Malhar in them that it is difficult to sing

these ragas immediately after singing Mia Malhar.

Durbari Kanara--Only Komal Ni is used. Dh is prominent

in avaroha (See Durbari Kanada).

Bahar.--Both Nishads are not used side by side. Sangathi

ri म स is prominent. (See Bahar).

Karnatak

There is no raga called Malhar or Mia Malhar. There are

various other Malhars like Gouda Mallar etc,

Karnatak raga Kanada which is a janya of the 22nd Mela-

karta, Kharaharapriya (Kafi That) has resemblance to Mia

156

Malhar in many sancharas. Tivra Ni not used prominently in

Karnatak raga Kanada. But touches of Tivra Ni are unavoid-

able and do exist. Aroha and avaroha of Kanada are :-

स ri ग म प ध s नि ऽ - ऽ नि ध प म प s नि ध प म ग ri s s नि ध s.

(See Kanada)

MIAKI SARANG

Hindustani

This rare raga is formed by combining Brindavani Sarang and

Mia Malhar ragas. It belongs to Kafi That (Kharahar-

priya). Its jati is Shadava-Shadava. Ga is completely left out.

Aroha and avaroha of this raga are,

स - नि , ध नि , प ध प s - ध - नि , प म ग ri - म प - नि ध s नि s - ऽ -

नि ध नि प . ध प - म ri प ध ri - s.

Svaras used are Tivra Ri, Suddha Ma, Tivra Dh and both

Komal and Tivra Ni. Pakad or diagnostic svara groups are,

नि , ध नि , प ध नि s - नि , s ri - प म ri - s ri नि s, Dh, though

used, is not kept prominent. It is even sometimes dropped to

create a Sarang chaya. This "Kriya" is justifiable Vakra

sancharas म ri म प - नि ध s नि s ऽ and नि ध नि प - म ri

प म ri in avaroha are characteristic of this raga. Tivra Ni is

mostly used as a grace note or "Kan" for Tara Shadja— स ri s.

Mia Malhar anga नि , ध नि s is also introduced at the end of

avaroha alap. Compositions in this raga are,

Balamuva Mora--Tilvada (Vilambit)

—Jayasuklal Shah.

Bana Bana Dhoondana--Trital (Madhya)

—Jayasuklal T. Shah.

Hindustani raga Mia Malhar is closely allied to Miaki

sarang.

Mia Malbar--Ga is used prominently. Vakra sancharas

नि ध ऽ नि s is not found. (See Mia Malhar)

Karnatak

There is no Karnatak raga called Mia Ki Sarang, nor one

which resembles this Hindustani raga.

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MIRABAI KI MALHAR

MIRABAI KI MALHAR

Hindustani

This is not a well known raga. Some say that this raga

was invented by Mira Bai of fame. But it is believed by

others that Meera Bai who composed this raga was the daughter

of Ramdas Naik, a famous musician. This raga belongs to

Kafi That (Kharaharapriya). Its jati is Sampoorna--

Sampoorna. Aroha and avaroha are:-

म - ri . स ri नि s . ग - म ri प . नि ध नि s ऽ - ग s . नि प - म

प ग ri म प ध प - म ग ri s.

Svaras used are Tivra Ri, both Komal and Tivra Ga,

Suddha Ma, Komal and Tivra Dh and both Komal and Tivra

Ni.

Pakad or Gunjan svara groups are :

म ri स ri नि s - ग - म ri प - नि ध नि s ऽ - नि प - म ग - ri

म प ध प. Vadi is Pa and Samvadi Sa. This is a raga for the

rainy season, when it could be sung at any time. During other

seasons it is sung in the night. Although both Gandharas are

used, use of Komal Ga is more prominent. Tivra Ga is used

as ग ri ग - म ri गम and Komal Ga in a vakra way as ग - म ri ग

in aroha. Svaras group नि ध प म ri is used in aroha also. Tivra

Dh is more prominent than Komal Dh. It is used in a straight

way in aroha as प ध प and also as intermediate svaras in ri ग म

प. Komal Dh is used in avaroha in a vakra way as s नि ध s

ग ri प. This kind of Malhar is formd by combining the ragas Mia

Malhar and Adana. A composition in this raga is,

Tum Ghanse Ghan Garaje--Choutal (Vilambit).

Karnatak

There is no Karnatak raga called Mirabai ki Malhar nor

one which resembles this Hindustani raga.

MOHANA

Hindustani

There is no Hindustani raga called Mohana.

Hindustani raga Bhoop or Bhoopali (not Bhupala) has

158

RAGANIDHI

great resemblance to Mohana of Karnatak. Aroha and avaroha of Bhoop are :

स ri ग प धं—सं ri ग प ध नि स.

(See Bhoop)

As Vadi and Samvadi restrictions are not strictly observed while singing Karnatak ragas, raga Mohana also sounds like ragas Deshkar and Jait Kalyan of Hindustani sangeet. They use the same notes as Bhoop in both aroha and avaroha. (See Deshkar and Jait Kalyan)

Karnatak

Mohana is a very popular raga. It is derived from the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Its jati is Audava-Audava. Ma and Ni are not used. Aroha and avaroha of Mohana are :

स ri3 ग2 प ध2 सं—सं ध2 प ग2 ri3 स.

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

स ri ग प ध सं—सं ध प ग ri स.

Antara Ga is the jeeva svara of Mohana. Mohana has veera rasa and it is a very popular raga on the stage for expressing anger, challenge etc., There are many compositions in this raga. The following are very popular.

Nanupalimpa Nadachi (Telugu)—Adi Tala—Tyagaraja. Ra Ra Rajeevalochana (Telugu)—Adi Tala

—Mysore B. Vasudevachar.

Karnatak raga Mohana resembles the Hindustani raga Bhoop or Bhopali (not Bhoopala) very closely.

MOHANA KALYANI

Hindustani

This raga corresponds to Bhoop Kalyan or Suddha Kalyan of Hindustani. Aroha and avaroha of Bhoop Kalyan or Suddha Kalyan are,

MOHANANATA

159

स ri ग प ध सं—नि ध प म ग ri म.

(See Suddha Kalyan)

Karnatak

Mohana Kalyani is put under the 65th Melakarta Mecha Kalyani (ri, gu, mi, dhi, nu) which corresponds to Kalyan That of Hindustani sangeet.

This raga is formed by the combination of the two very popular ragas, Mohana and Kalyani. Aroha has svaras of Mohana. Avaroha has those of Kalyani. Its jati is Audava-Sampoorna. Ma and Ni are omitted in aroha. Aroha and avaroha of Mohana Kalyani are :

स ri5 ग3 प ध3 सं—स नि3 ध2 प म3 ग3 ri2 स.

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

स ri ग प ध—नि ध प म ग ri स.

Mohana Kalyani which resembles Suddha Kalyan of North is not as popular. The following composition however is sometimes heard.

Bhuvanesvari Alita Manasa (Kanarese)—Adi Tala

—L. Muthiah Bhagavatar.

MOHANANATA

Hindustani

There is no Hindustani raga called Mohanamata. This is an interesting raga and can be introduced into Hindustani sangeet. Its aroha and avaroha are :

स ग2 म प ध2 म नि—स नि ध म प म ग2 स.

This raga resembles Kokil Pancham of Hindustani. In Kokil Panchama however Ni is not used in either aroha or avaroha. Hindustani Kokil Pancham resembles Karnatak raga Prabhupriya very closely.

Karnatak

Mohanamata is a janya of the 9th Melakarta Dhenuka (ri, gi, ma, dha, nu). Its jati is Shadava-Shadava. In aroha and avaroha Ri is not used. Its aroha and avaroha are :

160

RAGANIDHI

स ग₂ म₁ प ध₁ प म₁ प नि₃ सं—से नि₄ व ध₁ प म₁ ग₂ प.

There are vakra sancharas in both aroha and avaroha.

Svaras used are Sadharana Ga, Suddha Ma, Suddha Dha and

Kakali Ni.

According to Hindustani notation the aroha and avaroha

are :

स ग म प ध प म नि से—से नि प ध प म ग स.

This is a pleasing raga although not popular. A composi-

tion in this raga is :

Mohananala Ragapriye Lalithe (Sanskrit)—Adi Tala

Mutuswamy Dikshitar.

Raga Prabhupriya resembles Mohananata.

Prabhupriya—Ni is not used. (See Prabhupriya).

MOOLTANI

This is a very popular raga. Mooltani belongs to Todi

That (Subhapantuvarali). Its jati is Audava-Sampoorna. In

aroha Ri and Dha are omitted. Aroha and avaroha of Mooltani

are :

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

Svaras used are Komal Ri, Komal Ga, Prati Ma, Komal

Dha and Tivra Ni. Pakad or raga chaya svara groups are :

नि स - ग म प में - म ग - म ग - प ध - नि स.

Vadi is Pa and Samvadi Sa. Halting svaras in this raga

are Sa, Pa and Ni. Ri, Ga and Dha should not be brought into

prominence. Otherwise it will sound like Todi Raga. Repeti-

tion of the svara group म ग म' ग sounds beautiful in

this raga. Svara group नि ग स म' should be used and not नि ग म' नि ग म'. The latter group is used in Todi raga. Ga is taken

with Tivra Ma as its grace note—ग म'. But Todi raga uses

straight ग or ग म' and not ग म'.

161

MOORATI

Mooltani raga has Shringara and Karuna rasas.

This raga is a Paramecla Praveshak raga. It is sung during

the last prahara of the day.

Popular compositions are :

Gokula Gav—Jhumra Tal (Vilambit).

Sundara Surajanava—Teen Tal (Madhya).

Hindustani ragas Todi and Madhuvanti resemble Mool-

tani.

Todi—Halting svaras are Ri, Ga, and Dha. Kan of Prati

Ma is not given to svara Ga. Svara group नि ग म' is used (See Todi).

Madhuvanti—Ri is Tivra (See Madhuvanti).

Karnatak

There is no raga called Mooltani in Karnatak sangeet.

There is a raga called Gamakasamantha which is a janya of

the 45th Melakartha Shubhapantuvarali. (ri, gi, mi, dha, nu).

This raga resembles the Hindustani raga Mooltani in its aroha

and avaroha svaras. It is an Audava–Sampoorna raga Aroha

and avaroha of Gamakasamantha are,

स ग₂ म₂ प नि₂ सं—से नि₃ ध प म₂ ग₂ प.

According to Hindustani notation they are,

स ग म प नि से—से नि ध प म ग स.

Gamakasamantha is not popular in the South and there

are no compositions in this raga.

MOORATI

Hindustani

This is not a well known raga. This is said to be a kind of

Kanara. Moorati belongs to Asavari That. (Natabhairavi).

Its jati is Audava-Sampoorna. Ri and Dha are omitted in aroha.

Aroha and avaroha of Moorati are :

स ग म प नि से—से प नि प म ग म स.

Svaras used are Tivra Ri, both Komal and Tivra Ga,

Suddha Ma, Komal Dha and Komal Ni. Tivra Ga is used in

aroha and Komal Ga in avaroha. Vadi is Ma and Samvadi

162

RAGANIDHI

Sa. This raga is sung during the last prahara of the night.

A composition in this raga is:

Kahe Na Bole -Ektal (Vilambit)—Balaram Roy.

Karnatak

There is no raga called Moorati in Karnatak sangeet, nor

one which resembles this Hindustani raga.

MOTKI

Hindustani

This raga which is put under Bhairav That (Hanumatodi) is

actually a mixture of Thats. In this Rishabs are two, Dhaivats

are two, Gandharas are two and Nishads are also two. Only

Suddha Ma is used. Chalan of this raga is as under.

नि

स . ध् प नि . व स - स म . प - ग् - रि - स . ग् म रि स . नि . स

तें

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

ग प ध नि - सं नि सं - नि ध् नि से - सं नि ध प . म म ग् - प ध नि -

गु रि - स - स रि प ग् ।

This is a rare raga. A composition in this raga is,

Mohana Liya Mana Sakhi—Jhaptai (Madhya).

Karnatak

There is no Karnatak raga called Motki, nor one which

resembles this Hindustani raga.

MUDRIKA KANARA

Hindustani

This raga is also called Mangala Kanada.

This is a rare raga about which there is difference of opinion.

Its jati is Audava-Samporna. Aroha and avaroha of this raga are ;

163

MUKHAR!

म म - ग म ध नि . ध् से—सं नि ध प . म प ध ग् ग् नु नि

रि स

In aroha Ri and Pa are not used. Svaras used are Tivra

Ri, Komal Ga, Suddha Ma, Tivra Dh and Komal Ni. Vadi is

Sa and Samvadi Pa. In aroha svaras Sa and Ma found togethèr

as स म give a touch of Bahar. Tivra Dh gives a chaya of

Shahana. This raga is for the night. Chalan of this raga is as

under :

म म

सं ध् नि रि स - ग् रि ग् म - नि ध् . नि से - ग् ग् मेरिस -

म म

सम . मप - म प ध ग् ग् नु ग् - मरिस् .

Compositions in this type of Mudrika Kanada are :

Jab Te Shyama Sarana Ho Payo -Teen Tal (Madhya).

Haro Mero Dukha -Jhap Tal.

This type of Mudrika Kanada sounds like Bageshree in

which Pa is used. (See Bageshree).

In another type of Mudrika Kanada Ri and Pa are used in

aroha also. In avaroha Ma is kept weak. Meend ग् स ग् is

taken. Compositions in this type are :

Vegi Tum Karma Karo—Choutal.

Ayo Phaguna Mas Sakhi—Dhamar.

Karnatak

There is no Karnatak raga called Mudrika Kanada, nor

one which resembles this Hindustani raga.

MUKHARI

Hindustani

There is no raga called Mukhari in Hindustani sangeet.

Raga Mukhari which is from the South is obtained by combin-

ing svaras of Kafii That in aroha and those of Asavari Thats in

avaroha. In aroha Ga should be omitted. It will then have for

its aroha and avaroha,

164

RAGANIDHI

स ri म2 प ध2 नि ध प ष—स णि ध प म ग ri स.

Vakra sanchara in aroha as well as avaroha should be remembered.

Karnatak

Mukhari is a popular Karnatak raga. It is a janya of the 22 nd. Melakarta Kharaharapriya (ri, gi, ma, dhi, ni,) which corresponds to Kafi That of Hindustani. Its jati is Shadava-Sampoorna. Ga is omitted in aroha. There is vakra sanchara in aroha. Aroha and avaroha of Mukhari are :

स ri2 म1 प ध2 नि ध2 स—स नि2 ध1 प म1 प ri स.

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

Suddha Dha is used in aroha. Chaturasruti Dha is used in aroha. Aroha and avaroha of Mukhari according to Hindustani notation are,

स ri म प ध नि ध स—स णि ध प म ग ri स.

Svara groups नि . ध प . स ri म स . स ri . म प ध नि स . नि ध प . म ग ri स . are characteristic of this raga.

This raga has shoka and karuna rasas. Popular compositions in this raga are :

Yema Ninne Telusu (Telugu) Adi Tala—Subbarama Dikshitar.

Kshinamai Tiruga (Telugu)—Adi Tala—Tyagaraja.

Yenta Ninnevartunu Shabari (Telugu)

—Rupaka Tala—Tyagaraja.

Mukhari is a Bhashanga raga. It employs Suddha Dha in avaroha which is not found in the melakarta Kharaharapriya.

It is interesting to compare Mukhari with Bhairavi which is also a Bhashanga raga.

According to Dikshitar school, there are two types of Mukhari.

TYPE I

It is a Janya of the 18th Melakarta Kanakangi (ra, ga, ma, dha, na). Its jati is Audava-Sampoorna. Ga and Ni are omitted in aroha. Aroha and avaroha of this type of Mukhari are :

स ri1 म1 प ध1 स—स नि1 ध1 प म1 ri1 स.

Svaras used are Suddha svaras of Karnatak sangeet.

According to Hindustani notation they are,

165

NABHKAUNS

स ri म प ध स—स ध प म ri स.

In above Tivra Ri represents Suddha Ga (ga1) and Tivra Dha represents Suddha Ni of Karnatak system.

A composition in this type of Mukhari is,

Ganapriya Munijana—Dhruva Tala—Lakshanageet

—Venkatamakhi.

TYPE II

It is a Janya of Natabhairavi. Its jati is Audava-Sampoorna. In aroha Ga and Ni are omitted Aroha and avaroha are :

स ri2 म1 प ध1 स—स नि2 ध1 प म1 ri2 स.

According to Hindustani notation they are :-

स ri म प ध स—स णि ध प म ग ri स.

A composition in this type of Mukhari is,

Pahimam Ratnachalanayaka (Sanskrit)—Adi Tala—

Muttuswamy Dikshitar.

NABHKAUNS

Hindustani

We owe this raga to Shri Sunil Kumar Bose. It is a combination of two popular ragas Malkauns and Chandrakauns. Its aroha consists of svaras of Malkauns and avaroha of those of Chandrakauns. The use of both Komal and Tivra Ni sometimes consecutively gives an individuality and an appeal. Its jati is Audava-Audava. Ri and Pa are not used. Aroha and avaroha are :

स ग म प नि स—स नि ध म ग स.

Svaras used are Komal Ga, Suddha Ma and both Komal and Tivra Ni.

Tivra Ni is used in aroha and Komal Ni in avaroha. Sometimes both Nishads are used as नि ध स and नि ध प . These prayogas create a peculiar effect. Vadi is Ga and Samvadi Dh. The following svara groups form the Pakad of this raga :

166

RAGANIDHI

म , नि स ग म—प, ध, नि , प

This is a raga which has been recently introduced. A composition in this raga is,

Kacchu Na Suhave Ali Ri Mayee—Ek Tal (Vilambit)

—Sunil Kumar Bose.

Karnatak

There is no Karnatak raga called Nabhkauns, nor one which resembles this Hindustani raga.

NABHOMANI

Hindustani

There is no Hindustani raga called Nabhomani, nor one which resembles this rare Karnatak raga.

Karnatak

Nabhomani is the name for the 40th Melakarta Navaneetam according to Dikshitar school. Nabhomani is derived from the 40th Melakarta Navaneetam (ra, ga, mi, dhi, ni). It is an Audava–Sampoorna raga with vakra sanchara in aroha. Dh and Ni are omitted in aroha. Aroha and avaroha of Nabho-mani are :

स म1 रि1 ग1 म2 प सं—सं नि2 ध2 प म2 रि1 सं.

or स रि1 ग1 रि1 म2 प सं—सं नि2 ध2 प म2 ग1 रि1 सं.

Svaras used are Suddha Ri, Suddha Ga, Prati Ma, Chatu-sruti Dh and Kaisiki Ni. Aroha and avaroha of Nabhomani according to Hindustani notation are :—

स रि रि मं प सं—सं ध प मं रि ध म.

Tivra Ri (रि) of Hindustani stands for Suddha Ga (ग1) of Karnatak.

Nabhomani is not a popular raga The following composition in this raga is available :—

Nayeda Vanchana Seyakura (Telugu)—Adi Tala

—Tyagaraja.

167

NADABRAMHA

According to Dikshitar school Nabhomani is Sampoorna-Sampoorna raga with vakra sanchara in aroha. Aroha and avaroha are :

स ग1 रि1 म2 प ध2 नि3 सं—सं नि2 ध2 प म2 ग1 रि1 स.

According to Hindustani notation they are :

स रि मं प ध प मं स—सं ध प मं रि स.

A composition in this type of Nabhomani is :

Nabhomani Candragrni Nayanam (Sanskrit)

—Triputa Tala—Muttuswami Dikshitar.

NADABRAMHA

Hindustani

There is no Hindustani raga called Nadabramha, nor one which resembles this rare Karnatak raga.

Karnatak

This raga is derived from the 64th Melakarta Vachas-pathi (ri, gu, mi dhi, ni). Its jati is Audava–Shadava. There are two types. They differ in their aroha svaras.

TYPE I

In this type svaras which are omitted in aroha are Ri and Ga. In avaroha Ri is not used. Aroha and avaroha are :-

स प ध2 नि2 सं—सं नि2 ध2 प म2 ग2 स.

Svaras used are Antara Ga, Prati Ma, Chatusruti Dh, and Kaisiki Ni. According to Hindustani notation they are;

स प मं य ध नि सं—सं ति ध प मं ग स.

Compositions in this type of Nadabramha are :

Shri Vidya Lalitham (Sanskrit)—Adi Tala

—Jayachamaraja Wadiyar.

Nadabramha Svaroopa (Sanskrit)—

Trisra Rupaka Tala—R. S. Gururajachar.

TYPE II

In this type in aroha Ri and Ma are not used. In avaroha Ri is omitted. Aroha and avaroha are :

स ग3 रि2 नि2 सं—सं नि3 ध2 प म2 ग2 स.

168

RAGANIDHI

According to Hindustani notation they are :

स ग प ध नि सं–सं नि ध प म ग स.

A composition in this type of Nadabramha is :

Nadabramhanuragame Naravarulaku (Telugu)

–Adi Tala–“Mishu Krishna”.

The above composition is in praise of Saint Tyagaraja.

NADAKALYANI

Hindustani

There is no Hindustani raga called Nadakalyani. This is a pleasing raga which can be introduced among ragas of Kalyan That. Its aroha and avaroha are :-

स ग म ध नि स–स नि ध म म ग म रि स

Karnatak

This raga has been invented by Shri C. Rangiah of Mysore. It belongs to the 65 th Melakarta Mechakalyani (ra, gu, mi, dhi, nu) which corresponds to Kalyan That of Hindustani. Jati of Nadakalyani is Audava-Shadava with vakra sanchara in avaroha. In aroha Ri and Pa are not used. In avaroha Pa is omitted. Aroha and avaroha of Nadakalyani are:-

स ग म ध स–स ध ग म ग रि स

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

स ग मं ध नि सं–सं नि ध मं ग मं रि स

The vaktra sanchara म ग मं रि स with रि elongated sounds beautiful.

A composition in this raga is :-

Na Aham Sahe Krishna Viraham (Sanskrit) – Adi Tala

–C. Rangiah.

NADANAMAKRIYA

Hindustani

There is no Hindustani raga called Nadanamakriya.

169

NADARAMAKRIYA

Hindustani raga Bhairav if sung with Madhyam “Sur” sounds like this Karnatak raga.

Karnatak

Nadanamakriya is derived from the 15th Melakarta Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That of Hindustani. This is a Nishadantya raga. Its aroha and avaroha are:-

स रि ग म प ध नि–नि ध प म ग रि स नि

Svaras used are Suddha Ri, Antara Ga, Suddha Ma, Suddha Dha and Kakali Ni. According to Hindustani notation they are :-

स रि ग म प धु नि – नि धु प म ग रि स नि

Suddha Ri, Suddha Ma and Suddha Dha are the Chaya svaras of this raga.

Nadanamakriya expresses sorrow. Elongation of svaras Ri, Ga, Dha and Ni by turns creates the effect of expressing sorrow. Compositions in this raga are,

Karuna Jaladhi Dasharathi (Telugu)–Adi Tala–

Tyagaraja.

Kande Kannara (Kanarese) Trisra Triputa –

R. S. Gururajacharya (“Kamalesha”)

NADARAMAKRIYA

Hindustani

There is no Hindustani raga called Nadaramakriya. If Bhairav is made Nishadantya with sancharnas as under then it will sound like Nadaramakriya also called Nadanamakriya.

नि स – स रि स – स ग म प ध नि स–नि ध प म ग रि स – नि स

Karnatak

Nadaramakriya of Diksbitar school seems to be the same raga as Nadanamakriya which is a popular one. It is derived from the 15th Melakarta Mayamalavagaula (Bhairav That). It is a Nishadantya raga.

नि स रि ग म रि प ध नि–नि ध प म रि ग रि स नि

170

RAGANIDHI

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

नि रि ग म प धू नि—नि ध प म ग रि स नि

A composition in Nadaramakriya are :

Nilakantaya (Sanskrit)—Chapu Tala—Muttuswamy Dikshitar.

NADAVARANGINI

Hindustani

There is no Hindustani raga called Nadavarangini nor one which resembles this rare Karnatak raga.

Karnatak

Nadavarangini belongs to the 22nd. Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani. It is an Audava-Sampoorna raga with vakra sancharas in both aroha and avaroha. Ri and Ga, are omitted in aroha. Aroha and avaroha of this raga are :-

स प -म1 प ध2 नि3 सं or म1 नि3 ध2 नि2 स—स प म1 प ध2 नि3 स or नि2 स प म1 ग2 रि2 ग2 स.

Svaras used are Chatsruti Ri, Sadharana Ga, Suddha Ma, Chatsruti Dh and Kaisiki Ni. Aroha and avaroha of Nadavarangini according to Hindustani notation are :-

स प-म प धनि सं or म नि ध सं,—स प—नि ध प म गृ रि स or ग रि ग स.

"Datu" or skipping of svaras in this raga sounds beautiful. Sudha Ma, Panchama and Kaisiki Ni are the Chaya svaras. This is not a popular raga. The following composition in this raga is available :-

Kripalawala Kaladhara (Telugu)—Adi Tala—Tyagaraja.

NAGABHUSHINI

Hindustani

There is no Hindustani raga called Nagabhushini. If Tivra Ni is included in aroha of Durga of Bilaval That a raga having the aroha and avaroha svaras of Nagabhushini of South will result. They are are as under :

स रि म प ध नि सं—सं ध प म रि स.

This is an interesting raga and it calls into our mind raga Narayani which has svaras of Durga and in the avaroha uses Komal Ni in vakra sancharas, (See Narayani).

Karnatak

Nagabhushini is a janya of the 29th Melakarta Dheerashankarabbarana (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of Hindustani. Its jati is Shadava-Audava. In aroha Ga is not used. In avaroha Ni and Ga are omitted. Aroha and avaroha of Nagabhushini are :

स रि3 म1 ग2 ध3 स—स ध2 प म1 रि2 स.

Svaras used are Chatsruti Ri, Suddha Ma, Chatsruti Dh, and Kakali Ni.

According to Hindustani notation the aroha and avaroha are :

स रि म प ध नि सं—सं ध प म रि स.

1 Nagabhushini is not a popular raga. The following composition in this raga is available :

Ganeshaskanda Janami (Sanskrit)—Roopaka Tala—L. Muthiah Bhagavatar.

There is another Karnatak raga called Nagabhushini which is a janya of the 30th Melakarta Naganandini. This raga is different from Nagabhushini described above and is not a familiar raga.

NAGADHVANI

Hindustani

There is no Hindustani raga called Nagadhvani. This is

172

RAGANIDHI

an interesting raga. It sounds like a mixture of Bilaval and

Tilang ragas. Tilang chaya is in poorvang of avaroha.

Karnatak

Nagadhvani is a janya of the 29th Melakarta Dheera-

sankarabharana (ri, gu, ma, dhi, nu) which corresponds to

Hindustani Bilaval That. Its jati is Sampoorna-Shadava with

vakra sancharas in both aroha and avaroha. Ri is supposed

to be omitted in avaroha. Aroha and avaroha of Nagadhvani

are,

स रि2 म1 ग2 म1 प ध2 नि3 सँ—सँ नि3 ध2 नि2 प म1 ग2 स.

Although the avaroha ends as न स there is a prayoga of

न म रि स also.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma,

Chatusruti Dha, and Kakali Ni. According to Hindustani

notation they are,

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

A composition in this raga is :-

Shri Lalitam Maha Tripura (Sanskrit)

-Khanda Triputa Tala–Jayachamaraja Wadiyar.

According to Dikshitar school the aroha and avaroha are,

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

According to Hindustani notation they are :

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

A composition in this type is:-

Brihadishvaram Bhajare (Sanskrit)–Adi Tala

-Muttuswamy Dikshitar.

NAGAGANDHARI

Hindustani

There is no Hindustani raga called Nagagandhari. This

raga sounds very much like raga Jeevanpuri of Hindustani.

Jeevanpuri has the following aroha and avaroha -

स रि म प ध नि सं—सं नि ध प म ग रि स.

(See Jeevanpuri)

173

NAGANANDINI

Karnatak

Nagagandhari belongs to the 20 th Melakarta Natabhairavi

(ri, gi, ma, dha, ni) which corresponds to Asavari That of

Hindustani. Strictly speaking Nagagandhari is a Nishadantya

raga. Its jati is Sampoorna-Sampoorna. Aroha and avaroha of

this type are :-

स रि2 ग1 म1 प ध1 नि2—नि2 ध1 प म1 ग2 रि2 स

According to Hindustani notation they are :-

स रि म प ध नि—नि ध प म ग रि स.

In the popular composition which is sung, the above aroha

and avaroha are not followed. The following aroha and

avaroha are in vogue.

स रि2 म1 ग2 म1 प ध1 नि2 से—सं नि2 ध1 प म1 ग2 रि2 स.

Svaras used are Chatusruti Ri, Sabdharana Ga, Suddha

Ma, Suddha Dha, and Kaisiki Ni. According to Hindustani

notation they are —

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

Nagagandhari is becoming popular. The following com-

position is often heard.

Sarasijanabha Sodari (Sanskrit)–Roopaka Tala–

Muttuswamy Dikshitar.

NAGANANDINI

Hindustani

There is no Hindustani raga called Naganandini nor one

which resembles this Karnatak raga. In aroha uttaranga has

chaya of Mia Malhar in the svara group म प ध नि स.

Karnatak

Naganandini is Melakarta No. 30 (ri, gu, ma, dhu, nu) of

Karnatak sangect. According to Dikshitar school it is called

Nagabharana. Aroha and avaroha of this raga are :-

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

It is a Sampoorna-Sampoorna raga. Svaras used are Chatu-

sruti Ri, Antara Ga. Suddha Ma, Shatsruti Dha and Kakali Ni.

Aroha and avaroha of Naganandini, according to Hindustani

notation are :-

174

RAGANIDHI

स ri ग म प ध नि नि स् -स नि धि प म ग ri स.

Komal Ni (नि) represents Shatsruti Dh (धि). Naganandini

is not a popular raga. A compsition in this raga is :

Sattaleni Dinamu Vacbuna (Telugu) - Adi Tala

-Tyagaraja.

NAGASVARAVALI

Hindustani

This raga is also called Nagasvari and Nageshvari. This

Karnataka raga is becoming popular in the North. It belongs to

Khamaj That (Harikamboji). Its Jati is Audava-Audava.

Ri and Ni are not used in this raga. Aroha and avaroha of

Nagasvaravali are :-

स ग म प ध स — सं ध प म - ग ri स धु स - ग स.

म ग - प म. Svaras are Suddha svaras of Hindustani sangeet.

Pakad or Gunj an svara groups are :-

प ध स—ध प म स - प ग स - म ग स

Vadi is Ma and Samvadi Sa. This raga is sung during the

second prahara of the night. Pa, although not completely

omitted, is kept weak or durbal in aroha.

In avaroha meend प ध S gives a Bhatiari touch This raga

has resemblance to raga Mand but is more dignified or

'Gambhira.'

A composition in Nagasvaravali is ;-

YeriAb Gunda La-Trital (Madhya).

Karnatak

Nagasvaravali is derived from the 28th Melakarta Hari-

kambhoji (ri, gu, ma dhi. ni) which corresponds to Hindustani

Khamaj That. Its jati is Audava-Audava. Ri and Ni are

omitted. Aroha and avaroha of this raga are,

स ग3 म1 प ध2 स—स ध2 प म1 ग3 स.

175

NAGAVARALI

Svaras used are Antara Ga, Suddha Ma and Chatusruti Dh.

According to Hindustani notation the aroha and avaroha are :

स ग म प ध स—सं ध प म ग स.

Hindustani and Karnatak ragas Nagasvaravali are similar.

Nagasvaravali is a popular raga. The following composition is

very frequently heard.

Shreepate Nee Pada (Telugu)—Adi Tala—Tyagaraja.

NAGAVARALI

Hindustani

There is no Hindustani raga called Nagavarali. While

singing this raga which has svaras of Bhairavi That (Hanuma-

todi) the effect should be like that of Bilaskhani Todi producing

Todi (Shubhapantuvarali) effect.

Karnatak

Nagavarali is derived from the 8th Melakarta Hanumatodi

(ra, gi, ma, dha, ni) which corresponds to Hindustani Bhairavi

That. Its jati is Sampoorna-Sampoorna. There is vakra

sanchara of Pa in both aroha and avaroha which gives beauty

to the raga. Aroha and avaroha are :

स ri1 ग1 म1 प1 ध1 नि2 स—सं नि2 ध1 म1 प2 ri1 स.

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

Suddha Dh and Kaisiki Ni. According to Hindustani notation

the aroha and avaroha are :-

स ri सु म प नि धु स—सं नि धु प म ri सु स.

This is not a popular raga. The following composition

in this raga is available.

Ganalola —Chapu Tala - Muttuswamy Dikshitar.

While singing this raga a Shubhapantuvarali or Hindustani

Todi effect has to be created by using Shudda Ma only as is

done in the Hindustani raga Bilaskhani Todi.

176

RAGANIDHI

NALINIKANTI

Hindustani

There is no Hindustani raga called Nalinikanti. Hindustani raga Tilak Kamod resembles this Karnatak raga. Tilak Kamod has the following aroha and avaroha.

प नि ध स - रे म प धि सं—स नि . प ध - म न धि स or सं स . ध प म - नि ध प स (See Tilak Kamod)

In Nalinikanti Dh is not used.

Karnatak

Nalinikanti is a janya of the 22th Melakarta Sarasangi (ri, gu, ma dha, nu). It is a Shadava-Shadava raga with vakra sanchara in aroha. Dh is omitted in this raga. Aroha and avaroha of Nalinikanti are :

स ग3 रि3 म1 प ध3 सं—सं ध3 प म1 ग3 रि3 स.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma and Kakali Ni. Aroha and avaroha of Nalinikanti according to Hindustani notation are,

स रि म प धि सं—सं ध प म रि स.

Ma is an important svara. It is elongated as म रि म स This raga has resemblance to the Hindustani raga Tilak Kamod Bui in Nalinikanti Dh is not used. (See Tilak Kamod).

This raga is very pleasing. The following composition is very often heard.

Manavi Yala kinehara (Telugu)—Adi Tala—Tyagaraja.

NAMANARAYANI

Hindustani

There is no Hindustani raga called Namanarayani. This Karnatak Melakarta has Poorvi svaras in poorvanga and Bhairavi svaras in uttaranga :-

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

Karnatak

Namanarayani is the 50 th Melakarta (ra,gu, mi, dha, ni).

177

NAND

It is called Namadeshi by Dikshitar school. This Sampoorna-raga has the following aroha and avaroha.

स रि1 ग2 म1 प ध1 नि3 सं—सं नि3 ध1 प म2 ग2 रि1 स.

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

स रे ग म प धू नि सं—सं नि धू प म ग रे स.

Namanarayani is not a popular raga. The following compositions in this raga are available :-

En Maname. (Tamil)—Adi Tala—Kotiswará Iyer.

Narmada Kaveri Nilaye (Sanskrit)—Triputa Tala —Muttuswamy Dikshitar.

NAND

Hindustani

This raga is also called Anandi and Ananda Kalyan. It is one of comparitively recent introduction. It belongs to Kalyan That (Mechakalyani). Its jati is Shadava-Sampoorna. In aroha Ri is not used. Aroha and avaroha are :-

प नि स ग - म म प - ध नि - ध सं प---स - नि प - ध मं - प ध - ग म ध प - रि स.

Svaras used are Tivra Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dh, and Tivra Ni. Komal and Tivra Ma occur side by side as स म' प sometimes. Pakad or diagnostic svara groups are;

ध प - रि स - ग म - स - प धि स ध प - प ध स प मं

Vadi is Pa and Samvadi Sa. Some suggest the reverse arrangement.

Vakra sancharas नि प - ध म' - ध प are characteristic of Nand raga. Halts on svaras Ri, Ga, and Ma as प ध रि स म - ग स - म स are beautiful. This raga is sung between 8 P.M. and midnight.

Anand Kalyan is considered to be a mixture of Bihag, Nat and Hamir ragas. Popular compositions in this raga are:-

12

178

RAGANIDHI

Ajahoo Na Aye Shyām--Trital (Madhya).

Dhoonda Bara Saiyya- Ek Tal (Vilambit).

Bihag resembles Nand to some extent.

Bihag-- Komal and Tivra Ma are not used as ऋ म प in

aroha but as ऋ म प in avaroha only occasionally.

Vakra sancharaas of Nand raga are not found.

(See Bihag).

Karnatak

There is no Karnatak raga called Nand or Anandi or

Ananda Kalyan, nor one which resembles this Hindustani

raga.

Like many other Hindustani ragas Nand raga is also

becoming popular in the South.

NANDAKAUNS

Hindustani

This is a rare raga. Its jati is Shadava-Shadava. Ri is not

used in this raga. Aroha and avaroha of Nandakauns are :-

स ऋ म प ध नि स्--स् नि ध प म ऋ स ऋ स.

Svaras used are both Komal and Tivra Ga, Suddha Ma,

Tivra Dha, and Komal Ni. In aroha only Tivra Ga is used. In

avaroha both Komal and Tivra Ga are used as ऋ म प ऋ स.

There are vakra sancharaas in both aroha and avaroha. Vadi is

Ma. Samvadi is Sa.

Pakad or Raga Vachak svara groups are : प ध म ऋ - ऋ म प म - प

म स ऋ स. Use of both Gandharas in avaroha as

म स ऋ स is a feature of this raga. Antara commences with

स ऋ म प नि स्. This raga is sung during third prahara of night.

The following compositions in raga Nandakauns are available.

Mana mori mana- Ektal--(Vilambit).

Bhali Bhuri Bat--Trital (Drut).

Karnatak

There is no raga called Nandakauns in Karnatak sangeet,

nor one which resembles this Hindustani raga.

179

NANDANAT

NANDANAT

Hindustani

This raga is formed by the fusion of Nand and Nat or

Chayanat ragas. Angas of these ragas are found as under.

Nand - न म प ध नि प - प म ऋ प - ध नि प -स्

स् - स ऋ स म

Nat - नि ऋ म प - ऋ म नि स

Svaras used are Tivra Ri, Tivra Ga, both Komal and Tivra

Ma, Tivra Dha and Tivra Ni.

Chalan of Nadanat is as follows :-

नि ऋ म प - ऋ म नि स - प ध प - न म प ध नि स प -

प मं प म - ऋ म नि स । प ध प - सं स सं स - नि स - प ध नि-

प ध - म प - म प नि स

This is an evening raga. A composition in this raga is :-

Jhananana Jhananana Payala Baje--Trital (Madhya).

Karnatak

There is no Karnatak raga called Nandanat nor one which

resembles this rare Hindustani raga.

NARAYANA DESHAKSHI

Hindustani

There is no Hindustani raga called Narayana Deshakshi.

This Karnatak raga has the same aroha and avaroha as Suddha

Bilaval of Sampoorna type (See Suddha Bilaval).

Karnatak

Narayana Deshakshi is a janya of the 29th Melakarta

Dheerasankarabharana (ri, gu, ma, dhi, nu,) which corresponds

to Bilaval That of Hindustani. Its jati is Sampoorna-Sampoorna

with vakra sanchara in aroha. Aroha and avaroha are :-

स् रि2 म1 प ध2 नि2 सां - स् नि2 ध2 प म1 ग2 रि2 स.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma,

180

RAGANIDHI

Chatusruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha are :-

स ri म ri म प ri ध नि सं—नि सं ri ध प म ri त.

The vakra sanchara in avaroha should be noted. Special sanchras नि ri प ri 5 ri सं and ri ध सं नि ri ध are attractive. Ma and Dh are the raga chaya svaras. A composition in this raga is :-

Oh Jagadamba (Sanskrit)—Khandajati Triputa Tala—Jayachamaraja Wadiyar.

According to Dikshitar School Narayana Deshakshi has the same aroha and avaroha as Shankarabharana without any vakra sanchara.

A composition in Narayana Deshakshi, according to Dikshitar School is:

Shankara Narayanam (Sanskrit) —Adi Tala—Muttuswamy Dikshitar.

NARAYANAGAULA

Hindustani

There is no Hindustani raga called Narayanagaula. There are chayas of Desh and Khamaj ragas in this Karnatak raga.

Karnatak

Narayanagaula is derived from the 28 th Melakarta Harikambhoji (ri, gu, ma, dhi, ni,) which corresponds to Khamaj That of Hindustani. It is a Shadava-Sampoorna raga with vakra sanchras in both aroha and avaroha. Ga is omitted in aroha. Aroha and avaroha of Narayanagaula are :-

स ri म1 प नि2 ध2 नि सं—सं नि1 च ri प म1 ri ग ri2 स.

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

स ri म प नि ध सं—सं नि ri ध प म ri ग ri त स.

Narayanagaula is not a very popular raga unlike Kedaragaula which it resembles very closely. The following compositions are some times heard.

181

NARAYANI

Maguva Ninne Kori (Telugu) — Atta Tala (Varnam)—“Shree Venugopala”

Manasu Ninne Maruvaka (Telugu)—Adi Tala—Tiruvattiyur Tyagaraja.

NARAYANI

Hindustani

Raga Narayani is gaining popularity during recent years. Narayani belongs to Khamaj That (Harikambhoji). Its jati is Audava-Shadava. Ga and Ni are omitted in aroha. In avaroha

स ri म प - ध सं—ri सं - नि ri ध - ri प नि ध प . म प म . ri

स . नि . ध स

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

ri म प नि . ध प - म प म - ri स . नि . ध स.

Vadi is Tara Shadja. Samvadi is Pa. Some suggest Ri as Vadi. This raga is sung during the second prahara of night. The following svara groups which are used in Narayani give it a chaya of raga Sur Malhar.

ri स प नि . ध प . नि ध . प नि 5 ri प.

In Narayani use of Dh is more prominent. Sur Malhar is sung with Malhar anga. Narayani is sung with Durga anga.

Popular compositions in Narayani are :-

Narayana ka Nama Bhaja Le—Sultal (Madhya).

Saheli Riya Gavo Ri Aj—Trital (Madhya)—S. N. Ratanjankar.

Aye Sakhina Ghara—Trital (Madhya)—J. D Patki.

Hindustani ragas Sur Malhar and Sorat are allied to Narayani.

Sur Malhar—Sung with Malhar anga. Dh is not prominent.

(See Sur Malhar).

Sorat—Svara group ri म ri is used in avaroha (See Sorat).

182

RAGANIDHI

183

Karnatak

Narayani is a janya of the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani. Jati of Narayani is Audava-Shadava. Ga and Ni are omitted in aroha. In avaroha Ga is not used. Aroha and avaroha of Narayani are :-

स रि2 म1 प ध2 स॓—स॓ नि3 प म1 ग2 रि2 स.

Svaras used are Chatusruti Ri, Suddha Ma, Chhatusruti Dh and Kaisiki Ni. According to Hindustani notation they are :-

स रि म प धस—म॑ नि॒ ध प॑ म रि स॒

Svaras of Narayani of Hindustani and Karnatak systems are identical. Narayani is not a very popular raga. The following compositions are sometimes rendered.

Bhajana Seya Margamu (Telugu)--Deshadi Tala--Tyagaraja.

Rama Neevegani (Telugu)--Adi Tala--Tyagaraja.

According to Dikshitar School Narayani is a Janya of 29th Melakarta Dheerasankarabharana (ri, gu, ma, dbi, nu,) which corresponds to Bilaval That. Its Jati is Shadava-Sampoorn a with vakra sancharas in both aroha and avaroha. Ni is omitted in aroha. Aroha and avaroha are :-

स रि2 ग2 म1 प ध2 स॓—स॓ नि3 ध2 प ग2 म1 ग2 रि2 स.

According to Hindustani notation they are :-

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

A composition in this type of Narayani is :-

Mahishasura Mardini (Sanskrit) -- Misra Eka Tala--Muttuswamy Dikshitar.

NASIKABHUSHANI

Hindustani

There is no Hindustani raga called Nasikabhushani nor one which resembles this Karnatak raga.

NAT OR NATA

Karnatak

Nasikabhushani is the 70th Melakarta of Karnatak sangeet (ru, gu, mi, dhi, ni). Its old name is Nasamani. Aroha and avaroha of this Sampoorn a-Sampoorn a raga are,

स रि2 ग2 म2 प ध2 नि2 स॓—स॓ नि2 ध2 प म2 ग2 रि2 स.

Svaras used are Shatsruti Ri, Antara Ga, Prati ma, Chatusruti Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are :-

स ऋ ग म प॑ ध॒ नि॒ स॓—स॓ नि॒ष प॑म॑ ग म स स.

Komal Ga ( ग ) represents Shatsruti Ri of Karnatak system.

Nasikabhushani is not a popular raga. The following composition is occasionally beard.

Mara Vairi Rama Ni (Telugu)--Rupaka Tala.--Tyagaraja.

According to Dikshitar school there is vakra sanchara ग2 रि2 ग2 in avaroha. A composition with this vakra sanchara is :-

Shri Rama Saravati Sevita (Sanskrit)--Adi Tala--Muttuswamy Dikshitar.

NAT or NATA

Hindustanii

Raga Nat or Nata belongs to Bilaval That (Dheerasankarabharana). Some consider it to be a Audava-Sampoorn a raga. Others take it to be a Sampoorn a-Sampoorn a raga. Aroha and avaroha of the two types of Nata are :-

Audava-Sampoorna Type

स - ग म - प ध - नि॒ स॓ - स॓ नि॒ प - म ग रि - ग प -स रि स.

Dh and Ni are omitted in aroha.

Sampoorna-Sampoorna Type

स - रि॒स - ग म - म प - ध नि॒ स॓ - स॓ नि॒ ध - नि॒ प (or नि3 ) .

रि॒ ग प - म - ग म रि स

184

RAGANIDHI

In the Sampoorna-Sampoorna type Komal Ni is sometimes

touched in aroha. Otherwise in both types all svaras are

Suddha svaras of Hindustani sangeet. Pakad or Gunjan svara

groups are हि रि म प - सति स. Vadi and Samvadi svaras are

Ma and Sa. This raga is sung during the second prahara of

night.

In this raga halt is frequently made on svara Ma as स त म -

म - त म - म प म etc. The above mentioned svaras

halts on Ma form the Nata anga. These are combined with

other ragas to give rise to compound ragas like Chaya Nat,

Hamir Nat, Nat Bilaval etc.,

Raga Nat or Nata of Hindustani sangeet is not sung by

itself. Jod or Samyukta or combined ragas like Chaya Nat

etc., are frequently rendered. Hindustani raga Nat has no

resemblance to the Karnatak raga Nata. Hindustani ragas

Tilang, and Jog have some resemblance to the Karnatak raga

Nata.

A composition in Nata is :-

Karata Ho Mose Neha Ki - Teen Tal (Vilambit).

If in Nata, Komal Ri is used in place of Tivra Ri then the

raga will sound like Anand Bhairav.

(See Anand Bhairav).

Karnatak

Nata is a very popular raga in Karnatak sangeet. It is

considered to be a Ghana raga. Veena players are very fond of

playing Tanam in this Ghana raga. Keertanas in Nata

are also rendered as opening songs in concerts. Nata is a

Janya of the 36th Melakarta Chalanata (ru, gu, ma, dhu,

nu). Its jati is Sampoorna-Audava. Ga and Dh are omitted

in avaroha. Aroha and avaroha of Nata are :-

स रि5 म2 म1 प ध1 नि3 or स रि3 ग3 म1 प ध1 नि3 प नि3

स—स नि3 प म1 रि1 स.

Svaras used are Chhatushruti Ri, Antara Ga, Suddha Ma,

Shatsruti Dh and Kakali Ni. According to Hindustani notation

aroha and avaroha of raga Nata are :-

स ग म प धि नि स or स गू म प मि नि सं—स नि प म

ग स.

In the above aroha and avaroha Komal Ga ( ग ) represents

Shatsruti Ri of South. So also Komal Ni ( नि ) represents

Shatsruti Dh.

The following compositions in Nata are very popular :-

Jagadananda (Sanskrit)–Adi Tala–Tyagaraja.

(One of the Pancha Ratna Kcertanas)

Svaminatha Paripalaya (Sanskrit)–Adi Tala

—Muttuswamy Dikshitar.

185

NATABHAIRAVI

Nata Bhairav has the anga of Nat in poorvanga and of

Bhairav in uttaranga. It is rendered mostly with Bhairav anga.

But-only Tivra Ri is used, its jati is Sampoorna-Sampoorna.

Aroha and avaroha of Nata Bhairav are:-

स - धि प म धि से—से प ध प म गि रि स

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Komal

Dh and Tivra Ni. Vadi is Ri and Samvadi Pa. This is a

morning raga. Nata Bhairav is not a popular raga. Some

instrumentalists render this frequently these days. Compositions

in Nata Bhairav are :-

More Nanda Lal Ab–Ektal (Vilambit)—“Sudhara”.

Nainana Barasata - Trital (Madhyaya)—“Sudhara.”

Karnatak

There is no Karnatak raga called Nata Bhairav. There is

a raga called Nata Bhairavi which has no resemblance to Nata

Bhairav of Hindustani sangeet. Nata Bhairavi has resemblance

to Jeevanpuri of North.

Karnatak raga Sarasangi which is the 27 th Melakarta of

Karnatak system has the same aroha and avaroha of Nata

Bhairav. Aroha and avaroha of Sarasangi according to Hindu-

stani notation are :-

स रि ग म प ध नि—स नि ध प म ग रि स.

(See Sarasangi)

186

RAGANIDHI

NATABHAIRAVI

Hindustāni

There is no Hindustani raga called Natabhairavi. Raga Nata Bhairav of North has no resemblance to the Karnatak raga Natabhairavi. Natabhairavi Melakarta corresponds to Asavari That. Raga Natabhairavi resembles the Hindustani raga Jeevanpuri which belongs to Asavari That. In Natabhairavi Ga is not left out in aroha (See Asavari and Jeevanpuri).

Karnatak

Natabhairavi is the 20th Melakarta (ri, gi, ma, dha, ni). It corresponds to Asavari That of Hindustani. According to Diksbītar school Natabhairavi is called Nariritigoula. Nata-bhairavi is a very important Melakarta. It has many derivatives or janya ragas. Aroha and avaroha of this Sampoorna-Sampoorna raga are:-

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

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

स रे ग म प ध नि सँ—स नि ध प म ग रे स

Care should be taken not to use Prati Ma. It will otherwise become Shanmukhapriya. Many sancharas of Natabhairavi are also found in Shanmukhapriya.

Although many ragas derived from Natabhairavi are popular the parent raga itself is not so. The following composition is available in this raga.

Parulu Seva (Telugu)—Rupaka Tala—

Rammad Sreenivasa Iyengar.

Hindustani raga Jeevanpuri resembles Natabhairavi and has become popular in the South as Jeevanpuri.

Jeevanpuri – Ga is not used in aroha. (See Jeevanpuri).

NATA BIHAG

Hindustani

Nata Bihag belongs to Bilaval That (Dheerasankarabharana).

There are two types of Nata Bihag.

NATA BILAVAL

187

1. Shadava-Sampoorna.

2. Shadava-Shadava.

Shadava Sampoorna Type

In Shadava-Sampoorna type Dh is omitted in aroha, Aroha and avaroha of this type are ;

स रि ग म प नि स . स नि ध प म ग रि स.

Both Nishads are used. Other svaras are all Suddha svaras of Hindustani sangeet. Pakad or diagnostic svara groups are :

म प नि ध प - म प - रि ग म प म ग रे स.

Vadi is Pa and Samvadi Ma. Some suggest the reverse arrangement. With Komal Ni, Nata Bihag sounds like Bihagada. Hence some do not use Komal Ni But it is more pleasing with Komal Ni. Sometimes Tivra Ma is touched for ranjakaṭva. This raga is sung in the night. Compositions in this type of Nata Bihag are :

Mohana Chalo Chalo Kadamba Ko--Teen Tal

(Madhya).

Jham Jham Jham Payala Baje—Trital (Madhya)

Hindustani raga Bihagada is allied to Nata Bilaval of above type.

Bihagada :- Tivra Ma is prominently used. (See Bihagada).

Shadava-Sampoorna Type

In this type Dh is not used at all. Aroha and avaroha of this type are :

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

This is not a commonly sung type.

Karnatak

There is no raga called Nata Bihag in Karnatak sangeet.

Raga Bihag of South resembles Nata Bihag and Bihagada ragas (See Bihag). Karnatak raga Kedara has some resemblance to the Shadava-Shadava type of Nata Bihag of North. Aroha and avaroha of Karnatak raga Kedara are as under :-

स म ग म प नि—स नि प म ग रे स.

(See Kedara).

188

RAGANIDHI

NATA BILVAL

Hindustani

Nata Bilaval belongs to Bilaval That (Dheerasankara-bharana). Its Jati is Sampoorna-Sampoorna.

Aroha and avaroha of Nata Bilaval are:-

स - रि ग म प - धु नि सं (Sampoorna) or स ग म - म प म . प नि सं (Shadava) —सं - नि ध प - म प - नि - धि or स म - प - स.

In aroha Ri is sometimes omitted thus making it a Shadava aroha. Svaras used are Tivra Ri, Tivra Ga, Suddha

Ma, Tivra Dh and both Komal and Tivra Ni. In this raga the

group ध - नि म प gives it a chaya of Chayanat. In avaroha Ma is

kept elongated as धु - नि - म स. Svara groups सं - नि ध with

Komal Ni sounds like Khamaj. Vadi is Ma and Samvadi Sa.

This raga is sung in the morning.

Nata Bilaval is formed by combining ragas Nat and

Bilaval in poorvanga and uttaranga respectively. Compositions

in this raga are:-

Aj Nava Nagari—Jhaptai (Madhyal.

Kouna Kisamaki Unaki--Trital (Madhyal.

-J. Bannerjee.

Hindustani raga Shukla Bilaval resembiies Nata Bilaval.

Shukla Bilaval :- Svara group रि ग म प is used and not

धि ग म प (See Shukla Bilaval).

Karnatak

There is no Karnatak raga called Nata Bilaval nor one

which resembles this Hindustani raga.

NATAKAPRIYA

Hindustani

There is no Hindustani raga called Natakapriya. Nataka-priya is obtained by combining Bhairavi in poorvanga and Kafi

in uttaranga. The combination will have the following aroha

and avaroha.

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

189

NATA KEDAR

Natakapriya is Melakarta No. 10 of Karnatak sangeet (ra-gi, ma, dhi, ni). According to Dikshitar school it is called

Natabharana. Aroha and avaroha of this Sampoorna-Sampoorna

raga are :-

स रि1 ग म प धु नि3 सं—सं नि3 ध प म1 रि1 स.

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

Chatushruti Dha and Kaisiki Ni. According to Hindustani nota-tion they are :-

स रि ग म प ध नि सं—से नि ध प म ग रि स

Natakapriya is not a popular raga. The following compo-sitions are available.

Yendukinta Kopamu (Telugu)—Adi Tala

—Tiruvottiyur Tyagaraja.

Idi Samayamu Brovarada (Telugu)—Rupaka Tala

—Mysore, B. Vasudevachar.

NATA KEDAR

Hindustani

Nata Kedar is different from Kedar Nat (See Kedar Nat).

Nata Kedar may be put under Bilaval That--just as Bibhag--

although in both these Prati Ma is used. Its jati is Shadava-

Sampoorna. Ni is omitted in aroha. Ri is vakra in aroha.

Aroha and avaroha of Nata Kedar are :

स रि स - म ग म - प ध सं---सं - नि धु म - प ध प म - न ग म रि स.

Svaras used are Tivra Ri, Tivra Ga, both Suddha and

Prati Ma, Tivra Dha and Tivra Ni. Although Ni is omitted in

aroha it is taken when rendering rapid tanas . Pakad or "raga

vachak" svara groups are स म - ग म - प ध म - ग म रि स. Vadi

is Sa and Samvadi Pa. Nata Kedar is sung during the second

prahara of night.

Nata Kedar is formed by fusion of ragas Nat and Kedar.

Anga of Nat is स ग म रि स. Anga of Kedar is न' प ध प म.

Nata Kedar is a very pleasing raga. But it is difficult to

render it properly.

Compositions in Nata Kedar are :-

190

RAGANIDHI

Mat Kar Bhaiti--Tilvada (Vilambit).

Ek Din Brijame--Ek Tal (Drut).

Nata Kedar is different from Kedar Nat.

Kedar Nat :--Komal Ni is also used. Tivra Ma is not

used. (See Kedar Nat).

Karnatak

There is no Karnatak raga called Nat Kedar. There is a raga

called Kedara Nata (See Kedara Nata). There is no Karnatak

raga which resembles Nata Kedar of Hindustani sangeet.

NATAKURANJI

Hindustani

This raga is also called Natakuranjika. This Karnatak raga

in a modified form is gaining popularity in Hindustani sangeet

also. Natakuranji or Natakuranjika is put under Khamaj That

(Harikambhoji). Its Jati is Audava--Shadava. In aroha Ri and

Pa are omitted and in avaroha Pa is dropped. Aroha and

avaroha of Natakuranji are :-- Ṡ Ṟ2 Ṁ2 Ṗ2 Ṇ2 Ḋ2 Ṡ.

Ṡ Ṇ Ḋ Ṡ Ṃ Ṟ Ṡ Ṇ2 Ṡ Ṡ Ṃ.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh

and Komal Ni. Pakad or diagnostic svara groups are:--

Ṇ Ṟ Ṡ Ṃ Ṟ Ṡ Ṟ Ṇ Ṡ Ṃ.

Vadi is Sa and Samvadi Ma. Halting svaras or Visbranti

sthanas are Ga and Ni, Vakra sancharas म म धि स and svara

group निस्स are frequently used. This raga is sung in the night.

A composition in Natakuranji js :--

Darasa Bina Harike--Trital (Madhya)--J. Patki.

The following Hindustani ragas are allied to Natakuranji.

Madhuradhvani--Ri is completely omitted (See Madhura-

dhvani).

BhinnaShadja--Ni is Tivra. (See BhinnaShadja).

Rageshwari--Tivra Ni is also used. Svaragroup न म धि स

is not used. म रि सु is used (See Rageshwari).

Malgunji--Pa is occasionally used. Komal Ga is also used.

(See Malgunji).

191

NATAKURANJI

In Hindustani raga Natakuranjika (as in the majority of

ragas of North), Ri is omitted in aroha when Ga is used. In the

Karnatak raga Natakuranji Ri is not omitted in aroha. Pa is

used. In the Hindustani raga there are vakra sancharas in

avaroba. In Karnatak raga there are vakra sancharas in aroha

but not in avaroha (excepting the occasional prayoga ग म प ध स)

Karnatak

Natakuranji is a very popular raga. It is a major raga and

is chosen for raga alapana and pallavi singing. It is a janya of

the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which

corresponds to Hindustani Khamaj That. Different authors

have given different aroha and avaroha for Natakuranji. They

are as under:--

1. Shadporna--Shadava jati. Pa is omitted in avaroha.

Ṡ Ṟ2 Ṁ2 Ṗ2 Ṇ2 Ḋ2 Ṡ2--Ṡ Ṇ2 Ḋ2 Ṁ2 Ṗ2 Ṟ2 Ṡ.

According to Hindustani notation they are :--

Ṡ रि ग म प ध नि स--स नि ध म ग रि स

2. Sampoorna--Audava jati.

Ri and Pa are omitted in avaroha.

Ṡ Ṟ2 Ṁ1 Ṗ2 Ṇ2 Ḋ2 Ṡ2--Ṡ Ṇ2 Ḋ2 Ṁ1 Ṗ2 Ṡ.

According to Hindustani notation they are :--

स रि ग म त्रि ध नि स--स नि ध म ग स

3. Shadava--Audava jati.

Pa is omitted in aroha. In avaroha Pa and Ri are not

used.

Ṡ Ṟ2 Ṁ1 Ṗ2 Ṇ2 Ḋ2--Ṡ Ṇ2 Ḋ2 Ṁ1 Ṡ.

According to Hindustani notation they are :--

स रि ग म ध नि--स नि ध म ग स.

In practice however no particular type is followed. The

svaroop which Natakuranji has is a mixture of all the above

ones. A sancharam ग म प ध स which is not found in any of the

three types mentioned above is also employed. It sounds

beautiful.

The following compositions in Natakuranji are very

popular.

192

RAGANIDHI

Parakela Sarasvati (Telugu)—Rupaka Tala

— Tirupati Narayanaswamy.

Manasu Vishaya Nada (Telugu)—Adi Tala

— Tyagaraja.

NAT MALHAR

Hindustani

This raga is formed by the combination of ragas Nat and Malhar. According to some poorvang is Malhar aund uttaranga is Nat Others hold the opposite view, that poorvanga is Nat and uttaranga is Malhar. Its jati is Sampoorna-Sampoorna. The following arohas and avarohas are suggested for Nat Malhar.

1. ष - नि़ ध - म रि - ग प or न रि प सं - ध सं or नि ध सं

—सं - ध - नि़ प - ग - ग म प - ध प म प - ग म रि - नि़ ष.

म म

2. स रि ग म - म रि प - ध नि़ सं--सं ध नि़ प म -

म रि - ध म पि ष स

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dha, and both Komal and Tivra Ni. Komal Ga is also sometimes used as ग म ग - न ग - ध ष. Some suggest the use of Komal Ga also in this raga to justify its inclusion in Kafi That (Kharahara-priya). But in the aroha and avarohas given above only Tivra Ga is used. Pakad or diagnostic svara groups are :-

ग म रि - ग म - म प ध - नि़ प

Sangatis म रि and ध न are beautiful in this raga. Vadi is Ma and Samvadi Pa. Some suggest the reverse arrangement. This is a raga for the rainy season. In this raga there are chayas of Goud Malhar in the svara group सं ध नि़ प and ग प म ग. This is a difficult raga. Compositions in Nat Malhar are :

Piya Likhana Pathawe—Trital (Vilambit).

Najara Nahi Andiani—Tilvada (Vilambit).

NATANARAYANI OR NATANARAYANA

193

Karnatak

There is no Karnatak raga called Nat Malhar, nor one which resembles this rare Hindustani raga.

NATANARAYANI or NATANARAYANA

Hindustani

Some call this raga Natanarayana also. It belongs to Bilaval That (Dheerasankarabharana). Its jati is Shadava-Shadava. Ni is omitted in both aroha and avaroha. Aroha and avaroha are :-

स रि ग म प - ध सं--सं ध प - ग म - स रि स

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

म प - ऽ ग म स - सं ध ष प - ध न म प - न ग - स रि स

Compositions in Natanarayani are :-

Sunare Aj Sujan—Rupaka Tal (Vilambit)

Hath Damaru Live—Jhap Tal (Madhya).

Karnatak

Natanarayani is a Janya of the 28th Melakarta Hari-kamboji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Its jati is Shadava-Sampoorna. Pa is omitted in aroha. Aroha and avaroha of Natanarayani are :-

स रि2 म1 प न2 ध2 —सं न2 ध2 प म1 ग3 रि2 स

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

स रि ग म य ध सं--सं धि प म ग म रि स.

There are vakra sanchras in both aroha and avaroha. Natanarayani of Karnatak sangeet has no resemblance to the Hindustani raga Natanarayani. This is not a popular raga. The following composition is sometimes heard :-

Mahaganapathe Palayasu (Sanskrit)—Adi Tala

— Muttuswamy Dikshitar.

13

294

RAGANIDHI

NAVANEETAM

Hindustani

There is no Hindustani rāga called Navaneetam, nor one

which corresponds to this Karnatak Melakarta.

Karnatak

Navaneetam is the 40th Melakarta of Karnatak system

(ra, ga, mi, dhi, ni). Its old name is Nabbhomani. Aroha and

avaroha of this Sampoorna-Sampoorna raga are ;-

स ri1 म1 म2 प ध2 नि2 सं–सं नि2 ध2 प म2 म1 ri1 स.

Svaras used are Suddha Ri, Suddha Ga, Prati Ma, Chatu-

sruti Dhi and Kaisiki Ni. According to Hindustani notation

they are :-

स ri1 ri1 म व प नि1 सं–सं नि1 ध व प मं ri1 स.

Tivra Ri, (ri) represents Suddha Ga of Karnatak sangeet.

Navaneetam is not a popular raga. A composition in this

raga is :-

Umapati Pahi Man (Sanskrit) – Rupaka Tala –

Balamuralikrishna.

NAVARASAKANNADA

Hindustani

There is no Hindustani raga called Navarasakannada, nor

one which resembles this Karnatak raga which is a pleasing one

and deserves to be introduced into Hindustani Sangeet under

Khamaj That. Aroha and avaroha of this raga are:-

स ग - म प सं–सं नि3 ध2 ग ri2 स

Karnatak

Navarasakannada is a very pleasing raga. Instrumentalists-

particularly flutists- are very fond of this raga. It is suited

for Orchestral music (Vadya Vrinda). This raga is a janya of

the 28th Melakarta Harikambhoji (ri gu, ma, dhi, ni) which

corresponds to Hindustani Khamaj That. Jati of this raga is

Chatusvari or Svarantara-Shadava. In aroha only four svaras

are used. Ri, Dhi and Ni are not used. In avaroha Pa is

not used. Aroha and avaroha of Navarasakannada are :-

स ग3 म1 प सं–सं नि2 ध2 म1 ग2 ri2 स.

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

Chatusruti Dhi and Kaisiki Ni. According to Hindustani

notation, the aroha and avaroha are ;-

स ग म प सं–सं नि ध म ग ri स

The following compositions in Navarasakannada are very

popular.

Ninnu Vina Nama Dendu (Telugu)–Rupaka Tala–

Tyagaraja.

Paluku Kanta Chakkaranu (Telugu)–Adi Tala–

Tyagaraja

NAVARATNAVILASAM

Hindustani

There is no raga called Navaratnavilasam in Hindustani

sangeet. This is a pleasing raga and can be introduced among

ragas of Asavari That

Karnatak

Navaratnavilasam is a janya of the 20th Melakarta

Natabhairavi (ri, gi, ma, dha, ni) which corresponds to

Hindustani Asavari That. Its jati is Shadava-Shadava. Ni is

omitted in both aroha and avaroha. There are vakra sancharas

in both aroha and avaroha. Aroha and avaroha are :-

स ri2 ग2 म1 प ध1 प सं–सं ध1 प म1 ग1 म1 ri1 स.

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

and Suddha Dhi. According to Hindustani notation the aroha

and avaroha are :-

स ri2 म प ध प सं–सं ध प म ग म ri1 स.

A composition in Navaratnavilasam is :-

Navaratna Vilasa Vaibhava Prade (Sanskrit)–

Adi Tala–Muttuswamy Dikshitar.

196

RAGANIDHI

NAVAROJ

Hindustani

Although the name Navaroj suggests its Mohemedon origin this raga is not commonly heard in Hindustani music.

Karnatak raga Navaroju has resemblance to Hindustani ragas Jinjoti and Devagiri Bilaval. (See Jinjoti and Devagri Bilaval).

Karnatak

Navaroj or Navaroju is a Panchamantya raga, or has its sanchara from Pa to Pa. It is a Sampoorna-Sampoorna raga,

This raga is a janya of the 29th melakarta Dheerasankara-bharana (ri, gu, ma, dhi, nu) which corresponds to the Hindustani Bilaval That. Aroha and avaroha of Navaroju are:-

प प्₃ नि₃ स रि₃ ग₃ म प—म ग₃ रि₃ स नि₃ ध₂ प

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma,

Chatusruti Dh and Kakali Ni. According to Hindustani notation the aroha and avaroha of Navaroju are :-

प प् नि स रि ग म प—म न ध स नि प

This raga has resemblance to the Karnatak raga Jinjoti. In Jinjoti, Sadharana Ga (Komal Ga—ग) is also occasionally used.

Chatusruti Dh and Antara Ga are raga chaya svaras of Navaroju in both aroha and avaroha. Chalan or trend of Navaroju raga is as follows.

प् नि - स रि S - रि - ग म S रि - ग म - म ग रि S - म रि - ग रि S || म ग - म प - म ग - म प - म प म - रि - म प - म - प - म प - मा -

रि - म ग रि S - म रि - स नि S स नि - ध प S - प् नि - स रि म S - S - नि म S न रि - प् रि - S S S ||

The following compositions are available in this raga.

Giridhara Mamava (Sanskrit)—Rupaka Tala.

(This is a Gita for beginners)

Hastapadanayanamasṭubhyam (Sanskrit) - Misra Eka Tala—Muttuswamy Dikshitar.

Navaroju resembles Hindustani raga Devagiri Bilaval in

many of its sancharas. Svaras groups प प् नि स - प नि - स रि S -

फि त म S त फि etc. remind us of Devagiri Bilaval.

NAYAKI

Hindustani

Hindustani raga Nayaki is the popular raga Nayaki Kanada which is said to have been composed by the famous musician Gopal Naik who was in the court of Amir Khustu.

Nayaki or Nayaki Kanada belongs to Kafi That (Kharahara-priya). It is a Shadava-Shadava raga. Dh is omitted in this raga. Aroha and avaroha of Nayaki Kanada are:-

नि S - ध प - ग S म - प S - ध S - नि प - म प - ग़ म -

फि S.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, and

Komal Ni. Pakad or Gunjan svara groups are :- ग म नि

प - नि म प ग म रि S.

Grace note (Kan) of Ma for Ga should be carefully noted. It gives beauty to Nayaki Kanada.

Although Dh is omitted in this raga some musicians use Komal Dh in aroha as स धु नि and फु ध प. Strictly speaking Dh should not be used in this raga. Vadi and Samvadi svaras are considered to be Ma and Sa respectively. Some suggest Pa and Ma as Vadi and Samvadi svaras. Andolan on Ga is prominent. Ma is sometimes kept isolated. Sangatis फि प and फु प are used frequently. This raga is sung during the third prahara of night. Popular compositions in Nayaki Kanada are :-

Banara More Pyare—Teen Tal (Vilambit).

Papi Hari Mukha Bolare Tu—Trital (Madhya).

The following Hindustani ragas resemble Nayaki Kanada closely.

Suha—In aroha Ri and Dh are not used. Sangatis फि र and

फि प are not used (See Suha).

Sugharayee—Avaroha is Sampoorna. Dh is used in avaroha.

It is Tivra Dh Vadi is Pa. (See Sugharayee).

197

198

RAGANIDHI

Devasakh—Ri is used in aroha. In avaroha Ri is used but not Dh. Sangati ग Ri is used. ग म ध नि प - ग ग प used frequently (See Devasakh).

Sahana—Tivra Dh is used prominently both in aroha and avaroha. Both Komal and Tivra Ni are used (Shahana).

Chanchaldas Maihar—Ga and Dh omitted in aroha, Dh omitted in avaroha. (See Chanchaldas Maihar).

Nayaki is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, mi, dhi, ni) which corresponds to Hindustani Kafi That. It is a Shadava-Sampoorna raga with vakra sancharas in both aroha and avaroha. Ga is omitted in aroha. Aroha and avaroha of Nayaki raga are :-

स ri2 म1 प ध2 नि3 स—सें नि2 ध प म1 ri2 ग2 स ri2 or स नि2 स ध2 प म1 ri2 ग2 स ri2 स.

Svaras used are Chatusruti Ri, Sadharana Ga, Prati Ma, Chatusruti Dh and Kaisiki Ni. According to Hindustani notation the aroha and avaroha of Nayaki raga are:-

स रि म प ध नि स ध प म—-सें नि स ध प म रि स or सं नि सं ध प म रि ग रि स.

Elongation of Ni in both aroha and avaroha and andolan on Ga sound beautiful. Svara groups ग म प स— नि स ध प - म ध नि ग़ स ri स etc. are frequently used.

Popular compositions in Nayaki raga are :-

Nee Bhajana Gana (Telugu)—Rupaka Tala—Tyagaraja.

Kanugonu Soukhyamu -(Telugu). - Rupaka Tala—Tyagaraja.

Karnatak raga Durbar is very much allied to Nayaki.

Durbar—Ni is used in a straight way as म प ध नि सैं. Ga and Ni are not supposed to be elongated (See Durbar).

According to Dikshitar school Nayaki is a Sampoorna-Sampoorna raga. Not only is Ga used in aroha but it is also kept elongated. Aroha and avaroha are :-

199

NEELAMBARI

स ri2 नि2 स म1 प ध2 नि2 स—सें नि2 स ध2 प म2 स ri2 स

According to Hindustani notation they are :-

स ri नि स म प ध नि स—सें नि स ध प म ग ri स.

There are no vakra sancharas in the above aroha and avaroha. A composition in this type of Nayaki is.

Ranganayakam (Sanskrit)—Adi Tala—Muttuswamy Dikshitar.

NAYAKI MALHAR

Hindustani

This is a rare raga. It is formed by the combination of Nayaki Kanara and Mia Malhar ragas. It is a Shadava-Sampoorna raga. Ga is omitted in aroha. Aroha and avaroha of this raga are :-

स - ग म - नि प - न र प ध नि - रि प - न ग म - ग म रि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Tivra Ni is used in aroha as

ग म ध नि स.

Karnatak

There is no Karnatak raga called Nayaki Malhar nor one which resembles this Hindustani raga.

NEELAMBARI

Hindustani

This raga has been popularised by Pandit Omkarnath Thakur. Neelambari belongs to Kafi That (Kharaharapriya). In aroha Ga and Ni are omitted. Its aroha and avaroha are :-

स - ri म - प ध—नि ri ध प - न म ग ri - नि5 नि स - प नि. ग ri स स

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh, and Komal Ni. Tivra Ni is also used sometimes along with Sa. Pakad or diagnostic svara groups are :

नि म प - म ग ri - ग ri - नि स नि - नि स - प नि. ग ri स स

200

RAGANIDHI

Vadi is Ri. Samvadi is Pa. In Neelambari chayas of Sindhura and Jayajayavanti are found. Following svara groups give Sindhura chaya : स - रि म प ध सं - स प ध सं - रि प सं.

Jayajayavanti chaya is created by the elongation of svara Ri, In Jayajayavanti Tivra Ga is more important than Komal Ga, In Jayajayavanti grace note given to Ri is that of Komal Ga.

In Neelambari use of both Gandharas side by side as ग्र म ग रि is beaautiful. In Jayajayavanti the Gandharas are not used side by side but as स म ग रि स.

In Neelambari svara group प रि ग रि is used. In Jayajayavanti प रि रे is used. This is a very pleasing night raga. Compositions in this raga are,

Ho Mitava--Teen Tal (Vilambit).

Kajara Sohata Naina--Tri Tal (Madhya)--J. D. Patki.

Hindustani ragas which are allied to Neelambari are,

Jayajavavanti--Tivra Ga important, Komal Ga could even be dropped. Both Komal and Tivra Ga not used side by side (See Jayajayavanti).

Sindhura--Vadi is Pa and Samvadi Sa. Svara groups स रि ग म रि - रि म प - म प ध रि are used. Andolan on Ni prominent (See Sindhura).

Karnatak

Karnatak raga Neelambari has no resemblance to the Hindustani Neelambari. Neelambari is derived from the 29th Melakarta Dheerashankarabarana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bhairav That. It is a Sampoorna--Shadava raga. Dh is omitted in avaroha. Its aroha and avaroha are :-

स रि2 ग म ध2 प नि3 सं—सं नि3 प म1 ग2 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 रे ग म ध प नि सं—सं नि प म ग रे स

In this raga andolan on Ma with Ga as grace note as ग ग म म

201

NEELAVENI

न

म स स is beautifull and is characteristic of this raga. Svara groups न म रि ग स स with Ga and Sa elongated and use of Komal Ni occasionally as न म ग रे स स र lend a charm. This raga expresses sorrow.

Popular compositions in Neelambari are,

Amba Neelambari (Telugu)--Adi Tala

Shringara Lahari (Kanarese)--Adi Tala--

Lingaraja Urs.

NEELAVENI

Hindustani

There is no Hindustani raga called Neelaveni. This is a pleasing raga which can be introduced among ragas of Asavari That (Natabhairavi). Its aroha and avaroha are:-

स रि म प धु नि सं—सं धु प म रि स

Karnatak

This raga is derived from the 20 th Melakarta, Nata-bhairavi (ri, gi, ma, dha, ni) which corresponds to Hindustani Asavari That. Its jati is Sampoorna--Shadava avaroha. There is vakra sanchara in aroha. Aroha and ava-roha are :-

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

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. Aroha and avaroha according to Hindustani notation are:-

स रि ग म प धु नि सं—सं ध प म ग रे स

Ri, Ma and Ni are jeeva svaras. Vakra sanchara ग म रि and svara group सं धु म with Ni omitted sound beautiful. A composition in this raga is:-

Balakrishnam (Sanskrit)--Adi Tala--Jayachamaraja

Wadiyar.

202

RAGANIDHI

NEETIMATI

Hindustani

There is no Hindustani raga called Neetimati. This Karnatak raga sounds like a combination of Simhendra-madhyam in poorvanga and Mia Malhar in uttaranga.

Karnatak

Neetimati is the 60 th Melakarta (ri, gu, mi, dhu, nu). It is called Nishada Melakarta by the Dikshitar school. Jati of Neetimati is Sampoorna Sampoorna.

Aroha and avaroha are :-

स ri3 म1 म2 प ध3 नि3 सं—सं नि3 ध3 प म2 ri2 ri3 स.

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

स ri ग म प ध नि सं—सं नि ध प म ग ri स

In the above Komal Ni ( नि ) represents Shatusrruti Dh ( ध3 ) of Karnatak system.

Neetimati is not a popular raga. A composition in this raga is :-

Vachamagochara Nee -(Telugu)—Deshadi Tala

—Tyagaraja.

NIGAMAGAMINI

Hindustani

There is no Hindustani raga called Nigamagamini. In this newly invented Karnatak raga there are only four svaras used in both aroha and avaroha as in the case of Malashree and Bhavani ragas It is a Chatusvari or Svarantara raga and can be introduced among ragas of Kafi That (Kharaharapriya). Its aroha and avaroha are :-

म ग स - ग म नि सं—सं नि म ग स - म ग स

Four svaras used are Sa, Komal Ga, Suddha Ma and Komal Ni. This raga sounds like Malakosh minus Dh.

203

NIRMALANGI

Karnatak

We owe this raga to Shri C. Rangiah, It is a Svarantara or Chatusvari raga belonging to the 22nd Melakarta Kharahara-priya (Kafi That). The svaras used are Sa, Ga, Ma, and Ni. Aroha and avaroha are :-

म प1 स - प1 म1 ध1 सं—सं ध1 म1 प1 स - म1 प1 स

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

म ग स - ग म नि सं—सं नि म ग स - म ग स

Sadharana Ga is the jeeva svara. This raga sounds like Hindola with Dh withdrawn. (See Hindola). Following san-charas are pleasing.

म ग म स - स ग म स - ग म नि स - नि5 म ग5 नि सं में ग स -

नि सं गं सं etc.

A composition in this raga in which the svaras, (other than Shadja) used are indicated in the name itself :-

Nigamagamini Pahi—Rupaka Tala—C. Rangiah.

NIRMALANGI

Hindustani

There is no Hindustani raga called Nirmalangi. The rare Hindustani raga Salang (not Sarang) has the same svaras in aroha and avaroha as the newly introduced Karnatak raga Nirmalangi. Salang resembles Brindavani Sarang, but only Tivra Ni is used in both aroha and avaroha. (See Salang.)

Karnatak

Nirmalangi has been introduced by Prof. R. Srinivasan. This is a modification of raga Madhyamavati. Kaisiki Ni is replaced by Kakali Ni in both aroha and avaroha. Its jati is Audava-Audava. Ga and Dh are not used. Its aroha and avaroha are :-

स ri1 म1 प नि3 सं—सं नि3 प म1 ri2 स

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

204

RAGANIDHI

स रि ग प नि सं—स नि प म रि स

In this raga Ni should be kept as sharp as possible. Its pitch is Ati Tivra.

A composition in this raga is ;--

Bhanu Vamsa Bhushana (Sanskrit)--Rupaka Tala--

R. Sreenivasan.

NIROSHTA

Niroshta means having no lips. Persons who are unable to use their lips cannot utter the letters Ma and Pa. A Niroshta raga is one in which svaras Ma and Pa are both omitted. This is against the rules regarding construction of ragas, but it is meant for the convenience of the lipless.

Hindustani

There is no Hindustani raga called Niroshta. Adbhut Kalyan is an example of a Niroshta. Adbhut Kalyan has the following aroha and avaroha.

स रि ग प ध नि सं—स नि ध प म ग रि स

Adbhut Kalyan has the same aroha and avaroha as raga Niroshta. As Ma and Pa are both omitted it can be put under either Kalyan or Bilaval Thats. (See Adbhut Kalyan).

Karnatak

This rare raga belongs to the 29th Melakarta Dheera-sankarabharana (ri, gu, ma, dhi, nu,). Its jati is Audava-Audava. Ma and Pa are omitted. Its aroha and avaroha are:-

स रि2 ग3 ध2 नि3 सं—स नि3 ध3 ग3 रि2 स

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

स रि ग ध नि सं—सं नि ध ग रि स

It is a pleasing raga. The following composition in this raga is available :-

Raja Raja Radhite (Sanskrit)--Rupaka Tala

--Muthiah Bhagavalar.

Hindustani raga Adbhut Kalyan corresponds to this raga.

205

NISHASAKH

NISHADA

Hindustani

There is no raga called Nishada in Hindustani sangeet. It sounds like a combination of Simhendramadhyam in poorvanga and Mia Malhar in uttaranga.

Karnatak

Nishada is the old name for the 60th Melakarta Neetimati (ri, gi, mi, dhu, nu). Janya raga Nishada belongs to the 60th Melakarta Neetimati. Its jati is Sampoorna-Shadava. In avaroha Dh is omitted. Aroha and avaroha of Nishada are :-

स रि2 ग2 म2 प ध3 नि3 सं—स नि3 प म2 ग2 रि2 स

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

स रि ग म प नि सं—सं नि प म ग रि स

A composition in raga Nishada is :-

Nishadadi Deshadhipatinuta-(Sanskrit). Triputa Tala--Muttuswamy Dikshitar.

NISHASAKH

Hindustani

This rare raga belongs to Khamaj That (Harikambhoji). Its Jati is Sampoorna-Sampourna. Aroha and avaroha of Nishasakh are :-

नि स रे -ग म प नि सं—सं नि ध प ग म

रि ग . नि स.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dha, both Komal and Tivra Ni. Tivra Ni is used in aroha and Komal Ni in avaroha. Vadi is Ga and Samvadi Dha. Svaragroups प म ध म-नि स are characteristic of this raga in aroha. In avaroha नि स -रि ग is prominent. This raga is sung during the second prahara of night. A composition in this raga is :-

206 RAGANIDHI

Devi Durga Sad Santa Jana—Jhaptal (Madhya)—

"Achapala".

Hindustani raga Khamaj resembbles Nishasakh.

Khamaj—Svara group and are not used.

Karnatak

There is no raga called Nishasakh in Karnatak sangeet.

Karnatak raga Khamas or Khamaj resembles Nishasakh of

Hindustani sangeet in certain sancharas.

NOOR SARANG

Hindustani

TYPE I

This type of Noor Sarang is formed by the combination of

Madhumad Sarang and Barwa ragas. Its jati is Audava-

Shadava. In aroha Ga and Ni are not used. In avaroha Ni is

omitted. Aroha and avaroha are :

or .

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, and both

Komal and Tivra Ni. Tivra Ni is used in aroha and Komal Ni in

avaroha. (In Madhumad Sarang there is difference of opinion

regarding the Ni. Some hold that only Komal Ni should be

used to distinguish it from Brindavani Sarang. Some use occa-

sionally Tivra Ni in aroha only. A few use even in avaroha

occasionally Tivra Ni as . In Noor Sarang gives the Barwa Chaya. The following svara groups are

characteristic of Noor Sarang.

.

Other sancharas are of Madhumad Sarang. A composition

in this raga is :-

Brijaki Tohe Laj—Tri Tal (Madhya).

TYPE II

This type of Noor Sarang is obtained by using only Tivra

Ma in Suddha Sarang. Jati of this type is Audava-Shadava. In

207 PADI

aroha Ga and Dh are omitted. In avaroha Ga is not used.

Aroha and avaroha are :-

.

Svaras used are all Tivra svaras. Vadi is Ri and Samvadi

Pa. This is a midday raga like Type I.

This type of Noor Sarang resembles Shyam Kalyan also.

Shuddha Sarang—Suddha Ma is also used.

(See Suddha Sarang)

Shyam Kalyan—Suddha Ma is also used (see Shyam Kalyan).

Karnatak

There is no raga called Noor Sarang. Madhyamavati of

South has some resemblance to Noor Sarang Type I. Tivra Ni

is not used and sancharas is not found (See Madhyamavati)

Hamsanada, a Janya of 60th Melakarta Neetimati, has

some resemblance to Noor Sarang Type II. As sung at present

Shatasruti Dh is omitted and the present aroha and avaroha of

Hamsanada are :-

.

In Noor Sarang Type II Dh is slightly used but in

Hamsanada the Shatsruti Dh which is strictly speaking a note

to be used is not used at the present day. (See Hamsanada)

PADI

Hindustani

There is no Hindustani raga called Padi. There is a raga

Padi. (See Pahadi). Hindustani raga Jogia has some resemblance

to the Karnatak raga Padi in its avaroha. Aroha and avaroha

of Jogia are :-

.

(See Jogia)

In Padi Ni is used in aroha but Dh is not used.

Karnatak

Padi is a janya of the 15th Melakarta Mayamalavagaula

(ra, gu, ma, dha nu) which corresponds to Hindustani Bhairav

That. Padi is an Audava-Shadava raga. Ga and Dh are omitted

208

RAGANIDHI

209

PAHADI

in aroha. In avaroha Ga is omitted. There is a vakra sanchara

in avaroha. Aroha and avaroha of Padi are :-

स रि1 म1 प नि3 स॓—नि3 प ध1 प म1 रि1 स

Svaras used are Suddha Ri, Suddha Ma, Suddha Dh,

and Kakali Ni. According to Hindustani notation the aroha

and avaroha are :-

स रि म प नि स॓—स॑ नि प ध प म रि स.

Padi seems to have been a popular raga in the past. It has

fallen into disuse. It seems to have been superceded by other

janya ragas of Mayamalavagaula. A composition in Padi is :-

Shri Guruna Palitosmi—Rupaka Tala—Muttuswamy

Dikshitar.

Two Karnatak ragas which resemble Padi are Gauri and

Gundakriya. They have the same aroha as Padi but their

avarohas are Sampoorna.

Gauri :- स रि म प नि स॓—स॑ नि ध प म ग रि स. (See Gauri)

Gundakriya :- स रि म प नि स॓—स॑ नि प धू प म रि स

(Sec Gundakriya).

PADMAVATI

Hindustani

Padmavati belongs to Kafi That (Kharaharapriya). It

is a rare raga. Jati of this raga is Audava-Audava. Ga and Dh

are completely omitted. Aroha and avaroha of Padmavati

are :-

स रि स म - म प नि स प - स प नि स प - म प म

स रि स स

Svaras are used are Tivra Ri, Suddha Ma, and both Komal

and Tivra Ni. Komal Ni is a very important svaras in this raga.

Pakad are diagnostic svara groups are :-

नि स म प स॓ स - प नि स प - म प म - स रि स स

Vadi is Ma and Samvadi Sa. This raga is sung during

the second prahara of night.

Although svaras used are those found in Sarang, the chhayas

present are those of Kedar and Nayaki Kanada. Chaya of Kedar

is found in poorvanga and of Nayaki Kanara in uttaranga.

Kedar anga is found as :-

स रि स म प - म प म - स रि स स.

Nayaki anga consists of

नि प - नि स प स॓ - प नि स प.

Chaya of Kedar is produced by keeping Ma as vadi svara.

Svara groups म प नि स॓ - म प नि प

and प म नि स स which are

characteristic of Madhumad Sarang are avoided in raga

Padmavati. Compositions in this raga are :-

Aye Ritu Bahar Sakbi--Jhumra Tal—

(Vilambit)—J. D. Patki.

Navala Chaila Chabila--Trital (Madhya)—J. D. Patki.

Hindustani ragas which are allied to Padmavati are Madhu-

mad Sarang, Kedar and Nayaki Kanara.

Madhumad Sarang--Svara groups म प नि स॓ - म प नि प

प म नि स स are used. Vadi is Ri (See Madhumad Sarang).

Kedar—Dh is used. Komal Ni is not important.

(See Kedar)

Nayaki Kanara—Tivra Ni is not used. Ga is used.

(See Nayaki Kanara).

Karnatak

There is no raga called Padmavati in Karnatak sangect.

Karnatak ragas Madhyamavati and Brindavani Saranga (type

imported from North) have some resemblance to Hindustani

raga Padmavati. But the Kedar and Nayaki Kanara chhayas

give Padmavati a different svaroop.

Madhyamavati—Tivra Ni (Kakali) is not used. Vakra

sanchbaras of Padmavati are absent in Madhyama-

vati. (See Madhyamavati)

Brindavani Sarang -Vakra sanchbaras of Padmavati are

absent. (See Brindavani Sarang).

14

210

RAGANIDHI

PAHADI

Hindustani

This raga is a very pleasing one. It is a favourite raga of

the Maharastra stage music. Pahadi belongs to Bilaval That

(Dheerasankarabarana). Its jati is Audava–Sampoorna. Ma and

Ni are omitted in aroha. Aroha and avaroha of Pahadi are :-

स रि प प सं–नि ध प म प नि प स

Svaras used are all Suddha svaras of Hindustani sangeet.

Suddha Ma is even avoided. Sometimes even Tivra Ma is

touched for ranjakatva when it sounds like Bhoop Kalyan. Ni

is not important. Pakad or “raga vachak” svara are :-

न ग रि ग प नि सु ण नि प प स.

Vadi is Sa and Samvadi Pa. This raga is sung at all times

of night are day. Expansion or vistar of this raga is pleasing in

mandra and madhya saptaks. It is appealing when sung with

Madhyam sur (sruti). Dh in mandra sthayee has great beauty

in this raga. Ga, although not Vadi, is of great importance.

Prominence to mandra Db distinguishes Pahadi from ragas

like Bhoop, Deshkar and Suddha Kalyan. This raga has

shringara rasa. It is not considered a high class raga but fit

only for light music. Still it is a very pleasing raga. Compositions

in this raga are :-

Kashi ya Tyaju Padala (Marathi stage song from

“Rukmini Swayamvar”)

Murali Madhura Dhuna–Teen Tal (Madhya).

Karnatak

There is no raga called Pahadi in Karnatak sangeet. Hindu-

stani raga Pahadi has become popular in the South.

There is a raga called Padi in Karnatak sangeet which is a

janya of the 15th melakarta Mayamalavagaula (Bhairav That).

It has no resemblance to Hindustani raga Pahadi but has some

resemblance to Hindustani raga Jogia. Aroha and avaroha of

Padi are :-

स रि म प स–स नि प ध प म प स.

(See Padi).

211

Mohana Kalyani of South is allied to Pahadi of North. In

Mohan Kalyani in avaroha Prati Ma is touched. In Pahadi

mostly Suddha Ma is touched (See Mohana Kalyani).

PALASI

Hindustani

Palasi belongs to Kafi That (Kharaharapriya). These days

Palasi and Bhimpalasi are considered to be one and the same

raga. But the aroha and avaroha of Palasi will indicate that it

is an independent raga.

Jati of Palasi is Shadava–Shadava. Dh is omitted in both

aroha and avaroha. Aroha and avaroha of Palasi are :

स रि ग म प नि सं–स नि प म ग रि स

Svaras used are Tivra Ri, Komal Ga, Suddha Ma and

Komal Ni. With the above aroha and avaroha, Palasi is a

pleasing raga with an independent svaroop. It deserves to be

popularised in this form. A composition in Palasi is :-

Chandra So Anana Khanjana–Jhap Tal (Madhya).

Hindustani ragas Bhimpalas and Dhani have some

resemblance to Palasi.

Bhimpalas–Ri is not used in aroha but Ga is used. Ava-

roha is Sampoorna. (See Bhimpalasi).

Dhani :–In pure Dhani Ri and Dh are not used.

(See Dhani).

Karnatak

There is no raga called Palasi in Karnatak sangeet.

Karnatak raga Pushpalatika, a janya of the 22nd Melakarta

Kharaharapriya (Kafi That), has the following aroha and ava-

roha,

स रि ग म प नि–स नि प म ग रि स.

These correspond to those of Palasi raga of North.

(See Pushpalatika).

Another Karnatak raga which has the same aroha and

avaroha as Palasi is Poornasbadja which is derived from the

212

RAGANIDHI

20th Melakarta Natabhairavi (Asavari That). Its aroha and avaroha are :-

स ri ग म प ध ri स - स नि म प गू ri स.

(See Poornashadja).

PANCHA KALYAN

Hindustani

This is a rare raga. It belongs to Kalyan That. Its jati is Sampoorna-Sampoorna.

It is not possible to fix the aroha and avaroha of this raga as its svaroop has to be made out from the Chalan or rendering of the svara groups.

Pancha Kalyan is formed by mixing five varieties of Kalyan namely Yaman, Shyama Kalyan, Suddha Kalyan, Hema Kalyan and Hamir Kalyan. Vadi is Sa and Samvadi Pa. This raga is sung in the night. Pancha Kalyan prossesses bhakti rasa. Chalan of this raga is as under.

प ध प - स प ध प - ग ri ग स - स ri स - प ध - प ध प - ग म - ग म ध स - स ri ग ri - ग म ध प -

ग म ri स ।

(In the above groups of svaras only Suddha svaras are used).

ग प स S - स ri ri स - ग म - नि ध प - ग म ri स - ग ri स - ग म प ।

(Both Suddha and Prati Ma are used).

Pancha Kalyan is not a popular raga- A composition in this raga is,

Pancha Vadana Pancha Raga--Ek Tal (Madbya).

Karnatak

There is no Karnatak raga called Pancha Kalyan, nor one which resembles this Hindustani raga.

PANCHAM

Hindustani

Raga Pancham is placed under Marwa That (Gamana-shrama). There are five types of raga Pancham as under.

213

PANCHAM

1. Uses both Ma. Pa is omitted (Popular Pancham without Pancham)-Dh is Tivra.

2. Uses both Ma. Pa is used. Dh is Tivra.

3. Uses both Ma. Pa is not used. Ri is omitted. (Pancham with Hindol anga)

4. Uses only Tivra Ma. Pa is not used. Ri is used Pancham with Sohoni anga)

5. Uses only Komal Ma. Pa is used.

Types which are popular are Types No1 and No2.

TYPE I

Jati of this type is Audava-Shadava. Ri and Pa are omitted. This type may be called Pancham without Pancham.

Aroha and avaroha of this type are :-

स म प मं ध - नि ri स - नि ध स - मं ध - मं ग ri स.

Vadi is Suddha Ma, Samvadi is Sa. This is a night raga.

Although there is a chaya of Lalit the two Madhyamas do not come together. There is Hindol anga also-नि मं स। Svaras used are Komal Ri, Tivra Ga both Komal and Tivra Ma, Tivra Dh and Tivra Ni.

Chalan of this type is as under:-

मं ध सं - नि ri - मं ध - मं ग - ri स - म म - ग मं ध - नि ri - मं

ध ।।

मं ध स - स नि ri स - मं ग मं ग - मं ri स - नि स ग म - स - मं -

मं ध सं - नि ri मं ध ।।

Compositions in this type of Pancham are,

Phuli Basanti Baharia--Teeen Tal (Vilambit).

Chandraja Ke Bhala Biraje--Ek Tal (Vilambit).

Avo Gavo Rijhavo--Tri Tal (Madhyaj).

TYPE II

Jati of this type is Shadava-Shadava. In aroha Ni is omitted. In avaroha Pa is not used.

Aroha and avaroha of this type of Pancham are;

स - ri स - म - म - म ग - प - म ग स - ri स - ri नि ध - म प मं

म - म ग - मं ग ri स.

214

RAGANIDHI

Svaras used are Komal Ri, Tivra Ga, both Komal and Tivra Dh and and Tivra Ni. In aroha Komal Ma is used as म प and not म म प. In avaroha both Madhyams occur side by side as in Lalit म प म - म प म. Some suggest that both Ma should not be used side by side as shown above in raga Pancham.

Chalan of this raga (Type 2) is as under.

ग - रि स - नि रि ग - म प मच - ग म - रि स | ग - म ग - म ग प - सं ग म म - म ग - मं ध सं - रि सं - रिं नि ध - मं ध म

म ग म - म प - ग म रि - मं ग म म ग म - म ग - मं ध सं - रि से - रिं नि ध - मं ध म

म ग म - हि र ग - मं ग म म ग म - म प - ग म रि - मं ग रि स ||

A composition in this type of Pancham is,

Nama Deva Mahadeva--Ek Tal (Vilanbit).

Rama Nama Lele--Sul Tal (Madhya)

Hindustani ragas Lalit, Basant and Hindol resemble this type of Pancham.

Basant uses Komal Dh. Pa used in avaroha. (See Basant)

Lalit uses Ra is not used. Both Madhyams occur side by side in both aroha and avaroha. (See Lalit)

Hindol--Ri and Pa are not used. Suddha Madhyama is not used. (See Hindol)

TYPE III

This type is called Pancham with Hindol anga. Pa is not used. Both Komal and Tivra Ma are used. Ri is not used.

Chalan is :-

म ग - सं नि ऋमं - ग म ड़ स - सं ड़ भ म ड़ स - सं भ म म - ग ग मं

ग - नि ध सं | भिं भिं भि ग म ड़ स || म ड़ मं पच - सं रिं सं स - सं मं सं नि .

ध मं - ग मं - सं ध नि - म ड़ भ - म म ग ड़ स ||

Compositions in this type of Pancham are:-

Yaji Mere Bhore Aye--Trital.

Chintā Na Kare--Jhap Tal.

TYPE IV

This type is called Pancham with Soboni anga. Pa is not used. Only Tivra Ma is used. Ri is used. Its chalan is :-

PANCHAM

215

स ग - मं ध से - ध सं - रिं नि ध म - ग रि - ग मं - ध से - से नि -

रिं सं नि ध - मं मं ध नि - मं ध म गं | स मं नि सं - नि सं सं स | मं नि रिसं - नि सं सैं - से

रिं सें गं सं - नि रिं नि ध - मं ध नि मं ध - मं ग रि स

A composition in this type of Pancham is :-

Masayakba Alaiyya Door Karana--Choutal.

TYPE V

Pa is used. Only Komal Ma is used. Chalan is:-

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

म - मं ध प - मं ध स - मं ध प - ग रि स | म म ध प - नि नि सं सैं -

सं रिं सं सं - नि सं सैं - मं मं धिं - सं रिं सैं - नि सं नि ध - नि सं ध म

म म म - प प - ग म रि - मं ग रि स ||

A composition in this type of Pancham is :-

Jai Manamohana Shyama Murari--Trital (Madhyam).

Karnatak

Raga Pancham of Karnatak sangeet is derived from the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani. Its jati is Audava-Sampoorna. Ga and Ma are omitted in aroha. Aroha and avaroha of Pancham raga are,

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

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

According to Hindustani notation they are,

स रि व स प धि सं—से धि प म ग₂ रि स-

Svara group स रि ध स in aroha is very beautiful. A composition in this raga is,

Kanikaramu (Telugu)--Adi Tala--Tyagaraja.

Karnatak raga Pancham has no resemblance to any of the types of Hindustani raga Pancham.

216

RAGANIDHI

PANCHAM MALAKOSH

Hindustani

This raga belongs to Bhairavi That (Hanumatodi). Some suggest that this raga should be put under Asavari That (Natabhairavi).

Pancham Malakosh is the name which has been coined for the raga Jayantashree introduced from the South some forty years ago. This raga has in its aroha svaras of Malakosh. Pa is introduced only in avaroha as in Jayantashree. Hence it is called Pancham Malakosh.

Jati of this raga is Audava-Shadava. There is a vakra sancharia in avaroha. Ri and Pa are omitted in aroha and in avaroha Ri is not used. Aroha and avaroha of Pancham Malakosh are :-

स ग म प ध नि सं - सं नि ध प म ग स.

All svaras are Komal svaras. It is not a popular raga yet. The only comosition which is sometimes sung is the Maharashtra stage song “Madhusudana He Madhava” which is in imitation of the kriti “Marugelara Oh Raghave” of Shri Tyagaraja in the Karnatak raga Jayantashree. Hindustani raga Malakosh is allied to Pancham Malakosh.

Malakosh - Pa is not used (See Malakosh).

Karnatak

There is no raga called Pancham Malakosh in Karnatak sangeet. Karnatak raga Jayantashree derived from the 20th Melakarta Natabhairavi (Asavari That) is exactly like the Pancham Malakosh of Hindustani sangeet. It is Jayantashree which was imported from the South that was named Pancham Malakosh.

Aroha and avaroha of Jayantashree are,

स ग म ध नि सं - सं नि ध म ग म स.

Janyantashree bears the same relation to Hindola of Karnatak sangeet as Pancham Malakosh bears to Malakosh of Hindustani sangeet. (See Jayantashree).

217

PANTUVARALI

Hindustani

There is no Hindustani raga called Pantuvarali. Karnatak Pantuvarali today stands for Melakarta Kamavardhini which corresponds to Poorvi That of Hindustani sangeet.

Aroha and avaroha of Poorvi That are ;

स रि ग मं प धु नि सं - सं नि ध प मं ग रि स.

Karnatak

Pantuvarali is the name by which raga Kamavardhini (Ramakriya) is also called. Strictly speaking Pantuvarali stands for Shubhapanthuvvarali Melakarta (Todi That). Shubha is prefixed for purposes of Katapayadi Sankhya scheme to find out the No of the Melakarta.

Somehow since long (whether it is a mistake or a confusion) Pantuvarali stands for Kamavardhini whose old name is Ramakriya. (See Kamavardhini).

PARAJ or PARAJU

Hindustani

Raga Paraj belongs to Poorvi That (Kamavardhini). Its jati is Audava-Sampoorna. Ri and Pa are omitted in aroha. Aroha and avaroha of Paraj are;

नि स ग - मं ध नि सं - सं नि धु प - म ग - म रि स-

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

सं - नि धु मं - ध प - म म ग.

Vadi is Ga and Samvadi Pa. This raga is sung during the last prahara of night. It has bhakti and sringara rasas. Paraj is a Poorvi anga raga. In this raga Ni is also prominent.

This is an Uttaranga raga. Tara Shadja gives a special charm to this raga. The following svara groups are frequently used,

सं स - नि धु स s and मं प धु - म म स

218

RAGANIDHI

Many tanas end with the following

ṅ ṟi - ṅ ḍi . ṇi yu ṇi s or ḍ ṛi - ṇi ṣe . ṇi yu ṇi s

Some omit only Ri in aroha and use Pa in the following way,

Ṇi s ṇa ṃ pa yu ṇi ṣe or ṇi s . ṇa - ṇ p . ḍu ṃ ḍu ṇi ṣe .

In the Tara sthayee of Paraj there is anga of Kalingada as under,

Ṇi ṟi ṅ ḍi - ṅ ṛi ṣe . ḍu ṇi ḍu p . ga ma ga .

In this raga in its Poorvanga the svara groups ṅ pa ṇu - pa ṇa ṃ

and in the uttaranga ḍ ṛi . ṇi ṣe - ṇi ṇi s are “raga vachak” svaras. To sing this raga efficiently raga vistar in aroha is made like Basant. In avaroha Sohoni is sung using Komal Dh and anga of Kalingada is introduced here and there. Mandra sthaye is not reached except occasionally. There is not much meend work in this raga.

Compositions in raga Paraj are,

Sakhi Vanamali—Teen Tal (vilambit).

Bita Gayi Raina Sakhi—Jhumra (Vilambit)—

S. N. Ratanjankar

Chandani Rat Ati Bhave --Teen Tal (Drut)

Hindustani ragas Sohoni, Basant and Poorvi are allied to Paraj.

Sohoni :-Pa is not used. Only Tivra Ma is used.

Basant :-Komal Ma is used in an isolated manner as

Ṇi s . ṃ s. Sometimes Komal Ma is altogether not used. (See Basant)

Poorvi :-Ri is used in aroha as ṣa . ṛi ṇa. Tivra Ma is more important than Komal Ma. (See Poorvi)

Karnatak

Paraj or Paraju is a janya of the 15th Melakarta Maya-malavagaula (ra, gu, ma, dha, nu) which corresponds to Hindu-stani Bhairav That. Its jati is Shadava-Sampoorna. In aroha Ri is omitted- Aroha and avaroha of Paraju are :-

219

PARAJ BAHAR

Ṣa ṃ3 ṣa1 ṣ ṃ3 ṣe—ṅ ṇi2 ṣa1 ṃa ṇ2 s ḍi3 ṣ.

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

Ṃa Ṣa Ṃa Ḍu Ṣ ṃi ṭe—ṅi Ṣ ṛa Ṇa S Ḍi ṣ.

Ga and Dh are elongated in aroha and Ni and Ga in avaroha. Sometimes Ri is also taken in aroha making it Sampoorna. Raga Paraju has bhakti and karuna rasas in it. Compositions in this raga are :-

Triloka Mata (Telugu)—Chaputala---Syama Shastry.

Shri Shukra Bhagavantham (Sanskrit) --Atta Tala

--Muttuswamy Dikshitar.

Karnatak ragas Mayamalavagaula and Nadanamakriya resemble Paraj.

Mayamalavagaula--Ri is used in aroha also. Pa is important. (See Mayamalavagaula).

Nadanamakriya--This is a Nishadantya raga (See Nada-namakriya).

There is some resemblance between Hindustani raga Paraj and Karnatak raga Paraju or Pharaju. In the Karnatak raga Paraju, Prati Ma is not used. Only Suddha Ma is used.

PARAJ BAHAR

Hindustani

Paraj Bahar is included in Poorvi That (Kamavardhini). This raga is formed by mixing Paraj and Bahar ragas. Svaras used are both Komal and Tivra Ri, both Komal and Tivra Ga, Suddha Ma, both Komal and Tivra Dh, and both Komal and Tivra Ni.

Chalan or trend of this raga is as under :-

Ṇi ṣe . ṇi ḍu p . ṃ - ṃa p . ḍu . ṇi ḍi ṣe . ḍ ṛi . ṇi ṣe . ṇi .

Ṣe ṛi . ṛu ṛi . ṣa ṇi ḍha . ṃṁa . ṃa ṃ - ṇi ḍu ṣe . ṇi p . ṃa ṃ . ṃ ḍi ṣ .

Ṇi ṣa ṇi ṣe . ṛi ṇi ṣe . ṇi . ḍu p . ṃ - ṇ ṣa . pa ṇi ḍu . ṇi ṇa ṣe . ṣa ṇi

ṛu ṛi . ṣa ṇi ḍha ṣe ‖

220

RAGANIDHI

While singing this raga care should be taken not to stray away into the allied ragas Basant, Babar and Kalingada Bahar.

A composition in Paraj Bahar is,

Palana Jhula Kanha - Ektal (Madhya)-R. N. Vaze.

Karnatak

There is no Karnatak raga called Paraj Bahar, nor one which resembles this Hindustani raga.

PASHUPATIPRIYA

Hindustani

There is no Hindustani raga called Pashupatipriya. Raga Durga uses the same svaras as are used in this Karnatak raga. But raga Durga has no vakra sancharas and hence the svaroops are different. (See Durga).

Karnatak

Pashupatipriya is a janya of the 28th Melakarta Harkambhoji (ri, gu, ma, dhi, ni). Its jati is Audava-Audava. Ga and Ni are completely omitted. There are vakra sancharas in both aroha and avaroha. Aroha and avaroha of this raga are :-

स रि₂ म₁ प ध₁ सं—सं ध₁ प म₁ रि₂ स.

Svaras used are Chatusruti Ri, Suddha Ma and Chatusruti Dh. According to Hindustani notation they are :-

स रे म प ध—स ध प म रे स.

Dh and Ma are the jeeva svaras of Pashupatipriya. Ending of avaroha with रि म sounds good. Compositions in this raga are :-

Paripalisow Parameshwari (Kannada)--Adi Tala

—Mysore Venkatagiriyappa.

Pashupati Priya Sati--Rupaka Tala--Muthiah Bhagavatar.

Karnatak raga Suddhasaveri is allied to Pashupatipriya.

Suddhasaveri--There are no vakra sancharas. The avaroha does not end with म (See Suddhasaveri).

PATA BIHAG

221

PATA BAHAR

Hindustani

Pata Bahar is a "Samyukta" raga formed by combining ragas Patadeep and Bahar. It is difficult to give the aroha and avaroha for this raga as svaras of Patadeep and Bahar are mixed in a variety of ways in this mixed raga.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dha and both Komal and Tivra Ni. Angas of Patadeep and Bahar are found as under.

Patadeep - रे ग म प ध नि—रे म ग म प धू प नि स.

Bahar - ध प नि सं—स ध नि म प ग म - ध नि - गों में ध नि - म पि ध नि.

Chalan of this raga is,

ध नि सं नि ग प - म प ध ग म - नि ध नि सं - ग़ नि सं नि ड प ध प ग़ म ग म रि स - स म म - म ड ग म - ग म प नि सं - प नि सं ध नि

This is not a popular raga. A composition in this raga is,

Chalori Sakhi Aj Chalo-Trital (Madhya)--J. D. Patki,

Karnatak

There is no Karnatak raga called Pata Bahar, nor one which resembles this Hindustani raga.

PATA BIHAG

Hindustani

Pata Bihag belongs to Bilawal That (Dheerasankarabharana). It is a kind of modified Bihag. Some consider its jati to be Audava-Sampoorna. Others take it to be ShadavaSampoorna. In the Audava-Sampoorna type Ri and Dha are omitted in aroha. In the Shadava-Sampoorna type only Dha is dropped in aroha. Aroha and avaroha of the two types are as under.

Audava-Sampoorna

222

RAGANIDHI

6

सा ग म प नि सं—सं नि ध प - ग म - ग नि स. हि

Shadava-Sampoornà

स रि ग म प नि सं—सं नि ध प - म नि ध प - ग म नि स - प म म . हि सु.

In the first type only Suddha svaras are used whereas in the second type Komal Ni is also used, Pakad or diagnostic svara groups for both types of Pata Bihag are :-

हि

नि ध प म म - प म म .

In the above raga Tivra Ma is not used. In the present day Bihag, Tivra Ma is used although in orthodox Bihag only Suddha Ma is expected to be used. Komal Ni is used as म हि व ग and not हि स ग or हि व ग.

In Pata Bihag anga of Bihag is more in evidence than in Bihagada, a raga which is allied to Pata Bihag. Ri is much in evidence in Pata Bihag, Pata Bihag is not a popular raga. Compositions in this raga are,

Kaise Kaise Bolatu Moso Ada Choutal (Madhya).

Bita Gaye Gaye Bita Ri Trital (Madhya)

…S. N. Ratanjankar

Hindustani ragas Bihag and Bihagada resemble Pata Bihag. Bihag—Tivra Ma is used. Komal Ni is not used (See Bihag).

Karnatak

There is no Karnatak raga called Patadeep or Patadeepika. There is no Karnatak raga which resembles Patadeep or Pata-deepaki of Hindustani sangeet.

Bihagada— ग म हि व ग is used and not म हि व ग. In aroha Dh is used as हि व ढ (See Bihagada)

Karnatak

There is no raga called Pata Bihag in Karnatak sangeet. Karnatak raga Bihag, on account of the use of Komal Ni has some resemblance to Pata Bihag. In Bihag both Madhyams are used. (See Bihag).

PATADEEP

Hindustani

Patadeep is also called Patadeepaki. Present day Patadeep is different from Patadeepaki. Patadeep is different from the

ragas Pradeepika and Pradeepaki (Patadeepaki). There seems to be some confusion regarding the above mentioned ragas Patadeep has become popular during the last three decades.

Patadeep belongs to Kafi That (Kharaharapriya). Its jati is Audava-Sampoornà. Ri and Dh are ommitted in aroha. Aroha and avaroha of Patadeep are,

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

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

While singing this raga Tivra Ni has to be brought into prominence. It is slightly elongated. Ending of the alap is with नि स - म ग हि स. This present day Patadeep sounds like Bhim-palàs in which Tivra Ni has been substituted for Komal Ni.

Compositions in this raga are,

Piya Nahi Ave-Trital (Madhya)

Rajata Rangi Natale (Marathi) - Trital - (Madhya).

Hindustani raga Bhimpa!as resembles Patadeep. Bhimpa!as :- Tivra Ni is not used. Vadi is Ma.

(See Bhimpa!as)

Karnatak

There is no Karnatak raga called Patadeep or Patadeepika. There is no Karnatak raga which resembles Patadeep or Pata-deepaki of Hindustani sangeet.

Hindustani raga Patadeep itself is becoming popular in the South as Patadeep.

PATAMANJARI

Hindustani

There are three types of raga called Patamanjari-

1. Patamanjari belonging to Bilaval That. (Dheerasankarabharana)

2. Patamanjari belonging to Kafi That. (Kharaharapriya)

3. Patamanjari of a mixed type.

223

224 RAGANIDHI

TYPE I

(Bilaval That)

Jati of this type is Sampoorna-Sampoorna. Aroha and avaroha of this type are :-

सा रि ग - प ध म - म प धि सं—सं नि ध - नि प - म ग रि स

Svaras used are all Suddha svaras of Hindustani sangeet. Vadi is Sa. Samvadi is Pa. This raga is sung at midnight. This is not a popular raga. Compositions in this raga are,

Sakala Guni Jane - Jhap Tal (Madhya)

Trisula Jhappata Damaru - Sul Tal (Madhya)

TYPE II

(Kafi That)

Jati of this type is Shadava-Sampoorna. Ri is not used in aroha. Aroha and avaroha of this type of Patamanjari are:-

सा ध नि स - ग म ध स म - प धि म - नि स सं—से नि ध स म - प धु नि प - नि स ।

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

This raga is sung during the third prahara of the day. In this raga mandra Pa and Suddha Ni sound beautiful. Pa is used in vakra sancharas in both aroha and avaroha. This raga has resemblance to ragas Malgunji and Hamsakankini.

Patamanjari like Hamsakankini is sung with Dhanasari anga. Malgunji is sung with Bagesari anga.

TYPE III

(Mixed Type)

This type is said to be a mixture of five ragas Bhimpa!as, Goud, Shankara, Malkosh and Bilaval. It is a complicated one. It is difficult to sing and also not an impressive one.

Chalan of this type is as under,

(स - नि, धु स - म ग रि स - ग म ध ) - (न धि - प म ) -(ध म - ग स )-(स नि ध प - नि धि - स)

PAVANI 225

( ष - ध - से नि सं - धि सं ) - ( नि ध - सं - नि प ) - ( नि ष - प

म प ) - (ग - म प - म गु धि स )

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

A composition in this type of Patamanjari is,

Tuma Paramesvara Narahara--Trital (Madhya).

Karnatak

There is no raga called Patamanjari in Karnatak sangeet. Raga Sankarabharana in many sancharas resembles Patamanjari type I (Bilaval That).

(See Sankarabharana)

Karnatak raga which resembles Patamanjari type 2 (Kafi That) to some extent is Phalamanjari (See Phalamanjari).

There is no Karnatak raga which resembles type III of Patamanjari.

PAVANI

Hindustani

There is no Hindustani raga called Pavani, nor one which resembles this Karnataka Melakarta raga.

Karnatak

Pavani is the 41st Melakarta (ra, ga, mi, dhi, nu) called Kumbhini Melakarta by Dikshitar school. Jati of this raga is Sampoorna-Sampoorna. Its aroha and avaroha are :-

सा रि1 ग1 म2 प ध2 नि3 से... सं नि3 ध2 प म2 ग1 रि1 स ।

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

सा रे ग म प धु नि—सं नि ध प म ग रे स ।

In the above Tivra Ri represents Suddha Ga of Karnatak sangeet. This is not a popular raga. Compositions in this raga are -

15

226

RAGANIDHI

Anjade (Tamil)—Mishra Chapu Tala—Kotishwara

Iyer,

Jaya Dhana Danaka (Sanskrit)—Adi Tala —

Balamuralikrishna.

PHALAMANJARI

Hindustani

There is no Hindustani raga called Phalamanjari. One of

the types of Patamanjari has some resemblance to this

Karnatak raga. (See Patamanjari)

Karnatak

Phalamanjari is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi

That. Its jati is Chatusvari-Sampoorna. In aroha Ri, Pa, and

Ni are omitted.

Aroha and avaroha of this raga are :-

स रि₂ म₁ ध₂ स—स नि₂ ध₂ प म₁ ग₂ रि₂ स.

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

Chatusruti Dh and Kaisiki Ni. According to Hindustani nota-tion the above aroha and avaroha are :-

स ग म ध स—स ध प म ग स रि स.

In avaroha there is vakra sanchara. Jn avaroha Ga is

elongated and there is andolan on Ga. This is not a popular

raga. The following composition is occasionally heard,

Pattibiduvararu Na Chyai (Telugu) —Adi Tala

—Tyagaraja.

PHENADHYUTI

Hindustani

There is no raga called Phenadhyuti in Hindustani Sangeet,

nor one which resembles this Karnatak raga.

Karnatak

Phenadhyuti is the old name for the 2nd Melakarta

Ratnangi (ra, ga, ma, dha, ni). Janya raga Phenadhyuti is

derived from 2nd melakarta Ratnangi. Its jati is Shadava-Sampoorna. Jn aroha Ga is omitted. Aroha and avaroha of

Phenadhyuti are :-

स रि₁ ग प ध₁ नि₁ स—स नि₁ ध₁ प म₁ ग रि₁ स.

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

Dh and Kaisiki Ni. There is vakra sanchara in aroha,

According to Hindustani notation the aroha and avaroha are:-

स रि ग प ध नि—से नि ध प म रि स.

In above Tivra Ri ( रि ) represents Suddha Ga ( ग₁ ) of

Karnatak system.

A composition in Phenadhyuti is :-

Shree Jakshinamoorteem Heshham (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

227

PILOO

Hindustani

Piloo belongs to Kafi That (Kharaharapriya). Its jati is

Shadava-Sampoorna. Ri is omitted in aroha. Aroha and ava-roha of Piloo are :-

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

Svaras used are Tivra Ri, both Komal and Tivra Ga,

Suddha Ma, both Komal and Tivra Dh and both Komal and

Tivra Ni. Pakad or Gunjan svaragroups are :-

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

Vadi and Samvadi are Sa and Pa. Some suggest Pa as Vadi

and Ga as Samvadi. Sangati प ध प is frequently used. Ri is some

times not used at all or used in a vakra sanchara ग रि ग. Dh is

also durbal are weak in aroha. It is also used in a vakra

sanchara प ध प or ध प ध . Tivra Ma is used for rajakatva

as प ध प. Tivra Ri is used in mandra sthayee. Chalan or rendering of this

raga is beautiful in mandra and madhya saptāks. This raga is

considered to be a kshudra raga and fit for only light music. It

is however a very pleasing raga.

228

RAGANIDHI

This raga has karuna (pity) and shoka (sorrow) rasas. Hence it

is very much suited for Bhajans and Thoomries. Svaragroups

न ति र्स - नि ष्पू प् - प् ऋ णि ल्, are frequently used to bring

about effect of pathos.

Compositions in this raga are :-

Socha Samajho Nadan--Tal Deepchandi.

Sundara Sudhara Subain--Tri tal--Shankar Rao

Vyas.

Karnatak

Raga Keeravani which is being popularised in Hindustani

sangeet resembles Piloo. (See Keeravani)

Hindustani raga Piloo has become popular in the South

There was no raga called Piloo in Karnatak sangeet.

One type of raga Karnatak Devagandhari (not Devagand-

hari) which is a janya of the 21st Melakarta Kiravani is a

Nishadantya raga and resembles Piloo. (See Karnatak Deva-

gandhari).

POORBA or POORBYA

Hindustani

Poorba or Poorbya belongs to Marwa That (Gamanashra-

ma). Its jati is Shadava-Shadava. Pa is omitted in both aroha

and avaroha . Aroha and avaroha of Poorba are ;

नि हि र्स - नि हि र्म - मं पूं सं-कि मी - घं संमेंगरि हि र्स-

हि नि मं पू ल् स.

Svaras used are Komal Ri, Tivra Ga, Prati Ma, both

Komal and Tivra Dn and Tivra Ni. Use of Komal Dh in both

aroha and avaroha has to be remembered. Without the use

of Komal Dh, the beauty of this raga is not brought out. The

svaroop becomes different. This raga is formed by the combi-

nation of three ragas Poorvi, Poorvia, and Marwa.

Raga vistara of Poorba or Poorbya is mostly in mandra

and madhya saptaks. Compositions in raga Poorbya are :-

Ek Pala Hu Na Jane--Tilvada (Vilambit),

Mandarawa Baje--Tilvada (Vilambit).

POORV1

239

Hindustani ragas Poorvi, Poorvia and Marwa resemble raga

Poorbya.

Poorvi :- Komal Ma is also used. Only Komal Dh is used,

(See Poorvi).

Pooria :- Komal Dh is not used. (See Pooria).

Marwa :- Komal Dh is not used. (See Marwa).

Karnatak

There is no Karnatak raga called Poorba or Poorbya, nor

one which resembles this Hindustani raga.

POORIA

Hindustani

Pouria belongs to Marwa That (Gamanashrama). Its jati is

Shadava-Shadava Pa is omitted in this raga. Aroha and

avaroha of Pooria are :-

नि हि र्स - मा - मंष - नि हि र्स - हं - नि घं मा - नि - स.

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Tivra Dh

and Tivra Ni. Pakad or Gunjan svara groups are :-

मा - नि हि र्स - नि घ स नि - मं घु - हि स.

Vadi is Ga and Samvadi Ni. It is a Sandhi Prakash

(when day and night meet) raga. It is sung till 10 P. M. Sangatis

मा हि and नि घ are used frequently. Svara groups मं हि र्स - नि घ

नि - मं घ नि स are very important in this raga. They should be

delivered slowly and with "gambhirata". So also मा - नि हि र्स.

Chalan or rendering of this raga is mostly in mandra and

madhya saptaks. If prominence is given to uttaranga then it

will sound like Sohani. Pooria is a poorvanga raga. Nyasa on

mandra Ni as नि प् नि sounds beautiful. Antara begins as

under :-

मं मं घ मं सं-सं नि- हि सं.

Svara group नि घ प is not used in Pooria. It is used in

Sohani. Pooria is a very popular raga. Compositions in

Pooria are,

Phoolana Ke Harava--Ek Tal (Vilambit).

Sapane Me Aye-Teen Tal (Drut)

Bina Dekhe Mana - Teen Tal (Drut).

Hindustani ragas Sohani, and Marwa have great resemblance to Pooriya.

Sohani :-Uttaranga raga- is used (See Sohani)

Marwa:-Vadi svara is Dh and Samvadi is Ri. (See Marwa)

Karnatak

There is no raga called Pooria in Karnatak sangeet.

Karnatak raga Hamsanandi has some resemblance to Pooriya.

In Hamsanandi Ri is used in both aroha and avaroha.

(See Hamsanandi)

POORIA DHANASHREE

Hindustani

This raga is also called Pooria Dhanasari. It belongs to Poorvi That (Kamavardhini). Its jati is Sampoorna-Sampoorna.

Aroha and avaroha are :-

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

(1)

(2)

(3)

Vadi is Pa and Samvadi Ri. Sangati is frequently used. This is an evening raga and a very popular one. Rendering or chalan of this raga is mostly in madhya and tara saptaks.

Although it is called Pooria Dhaunshree it has neither anga of Pooria nor of Dhanashree. This raga is sung with Poorvi anga.

In this raga Pa is kept more prominent than Ga. The svara group indicating its evening character is frequently used. While taking tanas Ga is made Nyasa svara by using the svara groups . In aroha Pa is some times avoided by using . Antara begins with

Compositions in this raga are :-

Ab To Ritu Man-Tilpada (Vilambit).

Payaliya Jhanakar -Teen Tal (Drut).

Hindustani ragas Poorvi, Gauri, and Shree are allied to Pooria Dhanasari.

Poorvi :-Pa is not used. Vadi is Ga. (See Poorvi)

Shree :- group (See Shree).

Gauri :-Pa is not used (See Gauri).

Karnatak

There is no Karnatak raga called Pooria Dhanashree.

Karnatak raga Kamavardhini which is the 51st Melakarta has the same aroha and avaroha svaras as Pooria Dhanasree and possesses great resemblance to it. Aroha and avaroha of Kamavardhini are ;-

(See Kamavardhini)

There is a Karnatak raga called Poorva Darshi whose name resembles Pooria Dhanashree but its svaroop is different.

Poorva Darshi is a janya of the 14 th melakartaVakulabharana and a Nishadantya raga. aroha and avaroha of this raga are:-

POORNACHANDRIKA

Hindustani

There is no Hindustani raga called Poornachandrika. This is a pleasing raga which could be introduced into Hindustani sangeet under ragas of Bilaval That.

Karnatak

Poornachandrika is derived from the 29th melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of Hindustani.

232

RAGANIDHI

Its jati is Shadava-Shadava. Some consider it to be Shadava

Sampoorna. Ni is omitted in aroha. In avaroha Dh is dropped

in the Shadava-Shadava type. Aroha and avaroha of the two

types of Poornachandrika are;

Shadava-Shadava :-

स रि3 म1 प ध1 नि3--स नि3 प म1 रि2 ग3 म1 रि2 स

Shadava-Sampoorna :-

स रि3 म1 प ध2 प स--स नि3 प ध2 म1 ग3 म1 रि2 स

There are vakra sancharas in both aroha and avaroha..

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatu-

sruti Dh and Kakali Ni. According to Hindustani notation the

aroha and avaroha of this raga are ; --

Shadava-Shadava

स रि ग म प ध स--स नि प म रि ग म रि स

Shadava Sampoorna

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

Poornachandrika is a fairly popular raga. The following

composition is a favourite one.

Telisi Rama Chintana (Telugu)—Adi Tala

—Tyagaraja

Karnatak ragas Bangala and Janaranjani are allied to

Poornachandrika,

Bangala :--Aroha :--स रि2 ग3 म1 प म1 रि2 स.

Avaroha :--स नि3 प म1 रि2 ग3 रि2 स.

(See Bangala)

Janaranjani --Aroha:--स रि2 ग3 म1 प ध2 नि3 स

Avaroha :--स ध2 प म1 रि2 स--

(See Janaranjani)

According to Dikshitar school Poornachandrika is a

Sampoorna-Shadava type with Dh omitted in avaroha. There

is vakra sancharas in avaroha. Aroha and avaroha of this type of

Poornachandrika are:-

स रि2 ग3 म1 प ध2 नि3 स--स नि3 प म1 ग3 म1 रि2 स

According to Hindustani notation the are ;-

233

POORNA PANCHAMA

स रि ग म प ध नि स--स नि प म ग म रि स.

A composition in this type is,

Shankha Chakra Gadā Panim (Sanskrit)—

Rupaka Tala—Muttuswamy Dikshitar.

POORNA LALITA

Hindustani

There is no Hindustani raga called Poorna Lalita, nor one

which resembles this rare Karnatak raga.

Karnatak

Poorna Lalita is a janya of the 19th Melakarta Jhankara-

dhvani (ri, gi, ma, dha, na). Its jati is Audaya-Sampoorna. Dh

and Ni are omitted in aroha. Aroha and avaroha of Poorna

Lalita are :-

स म2 रि2 ग3 म1 प स or स रि3 म2 म1 प स--स नि3 ध2 प म1 ग3 म1 रि2 स.

Some are of opinion that there is vakra sancharas in aroha.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Dh

and Suddha Ni. According to Hindustani notation aroha and

avaroha of Poorna Lalita are :-

स ग रि ग म प स--स ध प म प रि स.

In the above avaroha Tivra Dh ( ) represents Suddha Ni

of Karnatak sangeet. Poorna Lalita is not a popular raga.

The following composition in this raga is available.

Kaluguna Pada Neeraja(Telugu)—Adi Tala

—Tyagaraja.

POORNA PANCHAMA

Hindustani

There is no Hindustani raga called Poorna Panchama.

This raga has some resemblance to raga Gunakree of Bhairav

That in which Ga and Ni are omitted in both aroha and avaroha.

Gunakree (Bhairav That)—Ga and Ni are not used. Its

aroha and avaroha are :-

स ग रि ग स--स ध प म प ध स (See Gunakree).

234

RAGANIDHI

Karnatak

Poorna Panchama is a janya of 15th Melakarta Mayamala-vagaula (ra gu, ma, dha, ni) which corresponds to Bhairav That

of Hindustani sageet. Its jati is Shadava-Shadava with Ni

omitted in both aroha and avaroha. Aroha and avaroha are :-

स ri1 ग1 म1 प ध1 नि1—नि1 ध1 प म1 ग1 ri1 स.

Svaras used are Suddha Ri, Antara Ga, Suddha Ma and

Suddha Dh. According to Hindustani notation they are,

स ri1 ग म प ध स—-नि ध प म ग ri1 स.

A composition in this raga is :-

Sama Jana Chitta Sarasijodayam (Sanskrit)—

Triputa Tala—Muttuswamy Dikshitar.

Raga Malahari is allied to Poorna Panchama but in aroha

of Malahari svaras Ga and Ni are not used. (See Malahari.)

POORNA SHADJA

Hindustani

There is no Hindustani raga called Poorna Shadja. Hindu-

stani raga Palasi resembles the Karnatak ragas Poorna Shadja

and Pushpalatika. Aroha and avaroha of raga Palasi are:

स ri1 म प नि1 स—नि1 प म ग ri1 स. (See Palasi)

Karnatak

Poorna Shadja is a janya of the 20th melakarta Nata-

bhairavi (ri, gi, ma, dha, ni,) which corresponds to Asavari

That of Hindustani. It is a Shadava-Shadava raga. Dh is

omitted in aroha and avaroha. Aroha and avaroha of Poorna

Shadja are :-

स ri2 ग2 म1 प ध2 स—नि2 ध2 प म2 ग2 ri2 स.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma

and Kaisiki Ni. According to Hindustani notation they are :-

स ri ग म प नि स—नि ध प म ग ri स.

This is a very pleasing raga but not very frequently heard.

The following composition in this raga is sometimes rendered.

235

POORVAGALLA

Lavanya Rama Kanulara (Telugu)—Rupaka Tala

--Tyagaraja.

This composition is also sung in the raga Rudrapriya which

is a janya of the 22nd Melakarta Kharaharapriya. Rudrapriya

has the following aroha and avaroha :-

स ri ग म नि1 स—नि1 ध1 प म ग ri स.

Rudrapriya resembles Poorna Shadja. In Rudrapriya in

aroha Pa and Dh are both omitted. (See Rudrapriya).

Another composition which exists is,

Idi Thaguva Indiresha (Telugu)—Patti Tala

--Chakravarti Venkatanarayanachar.

Raga Pushpalatika, a jaya of the 22nd Melakarta Khara

harapriya, resembles Poorna Shadja in its aroha and avaroha.

Aroha and avaroha of Pushpalatika are :-

स ri ग म नि1 स—नि1 प म ग ri स.

(See Pushpalatika)

POORVAGAULA

Hindustani

Karnatak

There is no Hindustani raga called Poorvagaula, nor one

which resembles this rare Karnatak raga.

Poorvagaula. is a janya of the 29th Melakarta Dheera-

sankarabharana (ri, gu, ma, dhi, nu) which corresponds to

Hindustani Bilaval That. Its jati is Sampoorna-Sampoorna

with vakra sanchará in aroha. Aroha and avaroha are,

स ग2 ri2 ग2 म1 प ध2 नि2 स—नि2 ध2 प म1 ग2 ri2 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 ri ग ri म प ध नि स—नि ध प म ग ri स

A composition in this raga is :-

Neelotpalambikam (Sanskrit)—Rupaka Tala—

Muttuswamy Dikshitar.

236

RAGANIDHI

POORVAVARALI

Hindustani

There is no Hindustani raga called Poorvavarali. Aroha of Poorvavarali resembles that of Jogia and in avaroha both Komal and Tivra Ri coming side by side as म रि फि र give it a special feature.

Karnatak

Poorvavarali is a janya of 3rd melakarta Ganamurti {ra, ga, ma, dha, ni}. Its jati is Audava-Sampoorna. Ga and Ni are omitted in aroha. Aroha and avaroha of Poorvavarali are :-

स रि1 म1 प ध1—सं नि3 ध1 प म1 ग1 रि स.

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

स रि म प ध सं—सं नि ध प म फि रि स.

In above Tivra Ri (रि) represents Suddha Ga (ग1) of Karnatak system.

This is not a popular raga. A composition in Poorvavarali is :-

Parameshvarena Palitosmi (Sanskrit)—Rupaka Tala—Muttuswamy Dikshitar.

POORVI

Hindustani

Raga Poorvi belongs to Poorvi That (Kamavardhini). Its jati is Sampoorna-Sampoorna. There are two types of Poorvi. In one type only Prati Ma is used. In the second type both Suddha and Prati Ma are used. Aroha and avaroha of these types are :-

Type I. स - रि - ग म प ध नि सं—सं नि ध प - म ग रि स.

Type II. स - रि - म' प ध नि सं—सं नि ध प म - फि म ग - रि स.

237

POORVI

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Komal Dh and Tivra Ni. In the second type Komal Ma is also used.

Type I which does not use Suddha Ma. sounds like Poorvi Dhanashree which is a very popular raga. It is to overcome this difficulty that Suddha Ma is also used in a special way in Poorvi. Hence type II is the popular type of Poorvi. Pakad or diagnostic svara groups are,

नि - स रि ग म - म' प - ति म - फि रि स. use of Suddha Ma as म' ग - फि म ग should be carefully noted. Suddha Ma is used only in avaroha in this special way.

Vadi is Ga and Samvadi Ni. This is a Sandhi-prakash (when day and night meet) raga. It is sung between 6 p.m. and 9 p.m. Prakriti of this raga is of Gambhirya. While singing this raga some use both Madhyams together as under :-

म ग प - म म ग - फि म ग

This also sounds well. Antara of of this raga begins with म ग - म' ध म' - से स—स. Although Pa is not omitted in aroha it is kept weak or durbal. This makes it look different from Poorvi Dhanashree in aroha. In avaroha Komal Ma makes the difference still more clear

Poorvi is a very popular raga. Compositions which are favourites are :-

Piyarawa Ke—Tilvada (Vilambit).

Kagawa Bole Mori—Teeen Tal (Drut).

Hindustani ragas which are allied to Poorvi are Poorvi Dhanashree, Paraj and Basant.

Poorvi Dhanashree—SuddhaMa is not used. Pa is prominently used in aroha also. (Sec Poorvi Dhanashree).

Paraj—Pa not used in aroha. Suddha Ma is used as म ग -प ना म ग (Sce Paraj).

Basant–Pa not used in aroha. Suddha Ma is kept is olated as नि स म स. Lalit anga is also found-म ग म ग.

(See Basant).

Karnatak

There is a raga called Poorvi in Karnatak sangeet also.

238

RAGANIDHI

This is a janya of the 15th melakarta Mayamalavagaula (ra, gu,

ma dha, nu) which corresponds to Bhairav That of Hindustani.

Its jati is Shadava Sampoorna. Pa is omitted in aroha. Aroha

and avaroha of Poorvi of Karnatak are :-

स रि₁ म₁ प₁ ध₁ स—स नि₃ ध₁ प₁ म₁ रि₁ स.

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

Suddha Dha and Kakali Ni. According to Hindustani notation

they are :-

स रि₁ म · ध नि₃ स—नि₃ ध प म₁ ग रि₁ स.

Raga Poorvi is difierent from Poorvi Kalyani or Poorva

Kalyani. Karnatak raga Poorvi is a combination of Karnatak

ragas Vasanta in aroha and Mayamalavagaula in avaroha.

In Hindustani sangeet there is a type of Sohoni which has

the same aroha as Karnatak Poorvi. If raga Bhairav is used as

avaroha then the Karnatak raga Poorvi is obtained. (See Sohoni)

Karnatak raga Poorvi is not known to many musicians. It

is not a popular raga. The following composition in the

Karnatak raga Poorvi is available But in this composition the

aroha and avaroha of Poorvi followed are as under.

स रि₁ म प ध नि₃ स—स नि₃ ध प म ग रि₁ स.

Kaligedi Durlabhamu (Telugu)—Chapu Tala -

Tiruvattiyur Tyagaraja.

Raga Kamavardhini corresponds to Hindustani raga

Poorvi in which only Prati Ma is used. Kamavardhini is Mela-

Poorvi in which only Prati Ma is used. Kamavardhini is Mela

Poorvi in which only Prati Ma is used. Kamavardhini is Mela

Poorvi in which only Prati Ma is used. Kamavardhini is Mela

kartà No. 51 of Karnatuk sangeet. Its aroha and avaroha are :

स रि₁ ग₃ म₂ ध₁ नि₃ स—स नि₃ ध₁ प म₂ ग₃ रि₁ स

(See Kamavardhini).

According to Dikshitar school also Poorvi belongs to

Melakarta Mayamalavagaula, but it is a Sampoorna-Sampoorna

raga without any vakra sanchara.

A composition in this type of Poorvi is,

Sri Guru Guhasya Dasoham (Sanskrit)—

Mishra Eka Tala—Muttuswamy Dikshitar.

239

POORVI KALYANI

Hindustani

This is also known as Poorva Kalyan and Pooria Kalyan.

It belongs to MarvaThat (Gamanashrama). Its Jati is Sam-

poorna-Sampoorna. Aroha and avaroha of Poorva Kalyani

are :

स - रि₁ ग₃ म₂ प ध₁ नि₃—स रि₁ ग₃ - म₂ प ध₁ नि₃ स.

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Tivra Dha

and Tivra Ni. Pakad or Gunjan svara groups are :-

रि₁ म' प- ध नि₃ प स - ध प म' रि₁ स.

Vadi is Ri and Samvadi Dha. Some suggst Sa and Pa as

Vadi and Samvadi. This raga is sung in the evening, and till

10 p. m. Pa is weak or durbal in avaroha as is seen in vakra

sanchara of avaroha. Sangatis of रि₁ and ग म' are frequently

used. Halt on Ri sounds beautiful. Svara group ग म' - रि₁ in

which Prati Ma is used only as Kan or grace note to Ri

sounds very well.

Antara commences with the following svaras—ग म प ध म

स—रि.

Poorva Kalyani is formed by the combination of Pooria

in poorvanga and Kalyan in uttaranga. Poorva Kalyani is a

verypopular raga. A composition in this raga is,

Howana Lagi Sanjh—Ek Tai (Vilambit).

Karnatak

Karnatak raga Poorva Kalyani is aiso called Poorvi Kalyani.

This raga resembles the Hindustani raga Poorva Kalyan or

Pooria Kalyan very much.

Poorvi Kalyani is derived from the 53rd Melakarta Gama-

nashrama (ra, gu, mi, dhi, ni) which corresponnds to Hindu-

stani Marva That. This raga is of Sampoorna Sampoorna jati.

The following arohas and avarohas are given to this raga by

different musicologists.

240

RAGANIDHI

1. स रि1 म1 म2 प ध2 नि3 स—स नि3 ध2 प म2 म1 रि1 स or स ध2 प म1 रि1 स—स रि1 म1 प ध2 नि3 ध2 स

2. स रि1 म2 प ध2 नि3 स—स नि3 ध2 प म2 रि1 स.

3. स रि3 म2 प ध3 नि3 स—स नि3 ध3 प म2 रि3 स.

Svaras used are Suddha Ri, Antara Ga, Prati Ma, Chatu-sruti Dh and Kakali Ni.

According to Hindustani notation the aroha and avaroha of the three types :-

Type I. स रि म प ध नि स—स नि ध प म रि स or स ध प म रि स. Ni omitted

Type II. स रि नंप धनि सं—स नि धप मं रि म

Type III. स रि नंप धनि प सं—स नि धप सं ग रि स.

Sanchara प ध प as given in the 3rd set of aroha and avaroha is very frequently rendered in this raga and is characteristic of the raga. This is a very popular raga. The following compositions are frequently heard.

Parama Pavana Rama (Telugu)—Adi Tala (Vilamba Iya)—Rammad Sreenivasa Iyengar.

Gyana Mosaga Rada (Telugu) - Rupaka Tala—Tyagaraja.

Raga Gamanashrama resembles Poorvi Kalyani.

Gamanashrama—Ni is used in aroha in a straight way as प ध नि सं (See Gamanashrama).

POOSHA KALYANI

Hindustani

There is no raga called Poosha Kalyani in Hindustani sangeet. This Karnatak raga which is not popular even in the south is an intersting one and can be easily introduced into Hindustani sangeet.

Aroha and avaroha of this raga are :-

स रि म प नि सं—स नि प म ग रि स,

Poorvanga sounds like Poorvi and uttaranga has Mia Malhar chaya. It can be called Poorvi Malhar.

241

PRABHAT BHAIRAV

Karnatak

Poosha Kalyani is a janya of the 54th Melakarta Vishwambhari (ra, gu, mi, dhu, nu). Its jati is Sampoornas-Shadava. In avaroha Dh is omitted. Aroha and avaroha of Poosha Kalyani are,

स रि1 म3 म2 प ध3 सं—स नि3 ध2 प म2 म3 रि1 स

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

स रि ग म प ध सं—सं नि प म ग रि स.

In the above aroha Komal Ni (नि) represents Shatsruti Dh of Karnatak system. Although it is a pleasent raga it is not a popular one. A composition in this raga is ;-

Kori Bhajinchiti (Telugu)--Rupaka Tala--Tiruvottiyur Tyagaraja.

PRABHAT BHAIRAV

Hindustani

Prabhat or Prabhat Bhairav belongs to Bhairav That (Mayamalavagaula). Its jati is Sampoornas-Sampoornas. Aroha and avaroha of two types of this raga are, as given below.

TYPE I

स स - रि ग - ग - म - प प ध धू . नि सं—सं नि धप . म ग - म मं - ग म - दि स,

In this type use of Lalit anga and use of two Madhyams together is found only in the avaroha.

TYPE II

नि रि ग म मं ग - ग म प धु नि सं—सं नि धप म - म प धप म - प धु म - म ग - दि ग म रि स

In this type Lalit anga and the use of two Madhyams side by side occurs in both aroha and avaroha equally prominent.

Svaras used are Komal Ri, Tivra Ga, both Suddha and

16

242

RAGANIDHI

Prati Ma, Komal Dh and Tivra Ni, Vadi is Suddha Ma and Samvadi Sa. Raga Prabhat as the name suggests is a morning raga possessing bhakti rasa.

Although Lalit anga is introduced in this raga, the raga in general possesses Bhairav anga. Hence Ri and Dh are used as in Bhairav raga.

Although this raga is formed by the fusion of three or four ragas still it has an individuality of its own. Commencement of this raga is like that of raga Kalingada.

Compositions in this raga are :-

Uthi Prabhata Sumariye—Dadra Tal (Madhyama).

Ab to Jago Manava—Tilwada (Vilambit)—

S. N. Ratanjankar.

Hindustani ragas Ramkali and Megharanjini also use Tivra Ma and have to be kept clear.

Ramkali—Lalit anga,is not found. Two Madhyams are not used together. (See Ramkali).

Megharanjini—It is of Audava jati. (See Megharanjini).

Karnatak

There is no raga called Prabhat or Prabhat Bhairav in Karnatak sangeet, nor one which resembles this Hindustani raga.

PRABHUPRIYA

Hindustani

There is no Hindustani raga called Prabhupriya. This recently introduced Karnatak raga has great resemblance to the Hindustani raga Kokilapancham which has the following aroha and avaroha.

नि स्‍ - ग म प धु नि सं - सं धु प - म ग - म प धु - म प - धु - म ग स

स - प धु प - धु - स (See Kokilapancham)

Karnatak

Raga Prabhupriya was invented by Sri Mysore Venkatagiriyappa. He places this raga under the 8th Melakarta Hanumatodi (ra, gi, ma, dha, ni) which corresponds to

PRADEEPAKI OR PATADEEPAKI

243

Bhairavi That of North. It is an Audava-Audava raga. Ri and Ni are not used. Aroha and avaroha are :-

स नि2 म1 प ध1 सं—सं ध प म1 ग2 स.

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

स ग म प ध सं—सं ध प म ग म

Ma and Pa are the jeeva svaras. Svara groups स ग म s and ग म प s are frequently used and sound beautiful. This is a very pleasing raga and deserves to be popularised. A composition in this raga is :-

Shri Rajarajeshvari (Karnarse)—Adi Tala—

Mysore Venkatagiriyappa.

PRADEEPAKI or PATADEEPAKI

Hindustani

Pradeepaki or Patadeepaki belongs to Kafi That (Kharaharapriya). It is different from Patadeep, Jati of this raga is Audava-Sampoorna. In aroha svaras Ri anh Dh are omitted. Its aroha and avaroha are,

स ग म प नि सं—सं नि ध प म ग म प नि स.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh and Komal Ni. Tivra Ga is used in aroha while in avaroha both Komal and Tivra Ga are used.

Pakad or diagnostic svara groups are,

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

ग रि स ।

Vadi is Sa and Samvadi Ma. Some suggest Ma as Vadi svara. This raga is sung during the third prahara of the day. It is sung with Bhimpalas anga. Use of Tivra Ga in aroha has a peculiar effect. It should be carefully used. Raga vistara is rendered mostly in mandra and madhya saptaks. In aroha Ri is weak and can even be omitted. Although Ri and Dh are

244

RAGANIDHI

Tivra, it is suggested that they should be kept somewhat lowered in pitch. There is slight chaya of Hamsakankini in this raga. But by halting on Ma this effect is removed or changed.

Compositions in raga Pradeepaki are : -

Piya Ghara Nabi Kaise-Tilvada (Vilambit).

Ari Beera Aa Piya - Jhumra (Vilambit).

Karnatak

There is no Karnatak raga called Pradeepaki or Patadee-paki, nor one which resembles this Hindustani raga.

PRADEEPIKA

Hindustani

Pradeepika is different from Pradeepaki or Patadeepaki. Pradeepika belongs to Kafi That (Kharaharapriya) and seems to be a combination of Bhimpalas and Deepak ragas. This type is sung with Bhimpalas anga. Svaragroup न्. स म is used in poorvanga. A peculiarity of this raga is that Komal Ni is used in aroha and Tivra Ni in avaroha. This is the reverse of usual use of two Nishads in the same raga.

Svaras used in this type are Tivra Ri, both Komal and Tivra Ga, both Suddha and Prati Ma, both Komal and Tivra Ni, and both Komal and Tivra Dh. Vadi is Ma and Samvadi Sa. Chalan of this raga is as under.

स ति न् स म - ग - तिरु म म प - म प सं ग स म म - म प

म म

ग ग - म ग रि स - म प - म प न् ि ध प म न म म - प ग म - म ति

म म

स - गू ग म प - म प न् ि ध प म - ग स म.

सँ सँ

प न् ि सँ-स न् ि ध प - म प स म - प नू म गू रि स - स स नि

म

गू प धू - म ग म म - म प गू रि - न म प त गू म गू रि स.

This type of Pradeepika is difficult to render and is not popular. A composition in this raga is,

PRAMODINI

Tuma Bina Taraphata-Trital (Vilambit)

---Sankara Rao Vyas.

Karnatak

There is no raga called Pradeepika, nor one which resembles this Hindustani raga.

PRAMODINI

Hindustani

There is no Hindustani raga called Pramodini This is an interesting raga which is obtained by substituting Tivra Dh for Tivra Ni in the Hindustani raga Malashree. Aroha and avaroba of Pramodini will be us under:-

स र ग म प ध स-सं ध प मं ग स.

This raga can be included under Kalyan That. Pramodini is also obtained by using Prati Ma instead of Suddha Ma in Nagasvaravali (See Nagasvaravali)

Karnatak

Pramodini belongs to 65th Melakarta Mechakalyani (ri, gu, mi, dhi, nu) which corresponds to Hindustani Kalyan That. Jati of this raga is Audava-Audava. Ri and Ni are omitted. Aroha and avaroha are :

स ग2 म2 प ध2 स-सं ध2 प म2 ग2 स.

Svaras used are Antara Ga, Prati Ma and Chatusruti Dh. According to Hindustani notation they are,

स ग मं प ध सं-सं ध प मं ग स

A composition in this raga is:-

Jyotiye Ichoodanai Tahaḍ (Tamil)-Trishra Rupaka Tala-R. Srinivasan.

Raga Pramodini may be considered to be raga Nagasvara-vali in which Prati Ma has been substituted for Suddha Ma. (See Nagasvaravali)

245

246

RAGANIDHI

PRANAVAPRIYA

Hindustani

There is no Hindustani raga called Pranavapriya. This raga can be introduced among ragas which have Madhuvanti chaya. Aroha and avaroha of Pranavapriya are :-

स ri म2 प नि s सं—स नि s प म2 ri s

Karnatak

Pranavapriya is a janya of 57th Melakarta Simhendra-madhyama (ri, gi, mi, dha, nu). Its jati is Audava-Shadava-Ga and Dh are not used in aroha. Dh is omitted in avaroha. Aroha and avaroha are :-

स ri म2 प नि s सं—स नि s प म2 ग ri s.

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

स ri म प नि s सं—स नि s प मं ग ri s

Ni is elongated in both aroha and avaroha as :-

प नि s s. स ri सं मे नि s s - प ग2 s ri ध नि s

Pranavapriya is a rare raga but a pleasing one. A composition in this raga is,

Padaravindamule Gati yani (Telugu)—Adi Tala—Ogirala Veeraraghava Sharma.

PRATAPAVARALI

Hindustani

Pratapavarali belongs to Khamaj That (Harikambhoji). Its jati is Audava-Shadava. Ga and Ni are omitted in aroha. Ni is not used in avaroha. Aroha and avaroha of Pratapavarali-are :-

स ri म प ध सं—स ध प म ग ri s

Svaras used are ali Suddha svaras of Hindustani sangeet. Vadi and Samvadi are Ri and Dh. This raga is sung during the second prahara of night. This is not a popular raga. A composition in this raga is,

247

PRAVALASHODHI

Kahe Na Mana–Trital (Madhya).

Hindustani ragas Durga (Bilaval That), Arabhi, Narayani and Goud Malhar resemble Pratapavarali.

Durga–Ga is not used (See Durga)

Arabhi–Ni is slightly used in avaroha (See Arabhi.)

Narayani–In avaroha Ni is used but Ga is not used.

(See Narayani).

Goud Malhar–Ni is used in avaroha (See Goud Malhar).

Karnatak

Pratapavarali is derived from the 28th Melakarta Hari-kambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani.

Jati of this raga is Chatusvari-Shadava. In aroha Ga, Dh and Ni are omitted. In avaroha Ni is not used. Some use Dh in vakra sanchara in aroha. Aroha and avaroha. of Pratapavarali are :-

स ri म1 प सं or स ri म1 प ध3 प सं—स ध2 प म2 ri s

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma and Chatusruti Dh. According to Hindustani notation they are :

स ri म प सं or स ri म प ध प सं—स ध प म ग ri s.

It will be seen that the Karnatak and Hindustani ragas use the same svaras. Arohas however slightly differ. This is not a popular raga. The following composition in this raga is available.

Vina Nasa Koni (Telugu)—Adi Tala—Tyagaraja,

Karnatak ragas Arabhi and Sama resemble Pratapavarali .

Arabhi–Dh is used in aroha. (See Arabhi)

Sama - There is andolan on Ma and Ri is elongated.

(See Sama)

PRAVALASHODHI

Hindustani

There is no Hindustani raga called Pravalashodhi. It is a pleasing raga which can be included among ragas of Khamaj

248

RAGANIDHI

That. Svara group स ri म ma प pa in aroha sounds like Durga and

नि ni प pa म ma स sa in avaroha has chaya of Tilang.

Karnatak

Pravalashodi is a janya of the 28th Melakarta Hari-

kambodhi (ri, gu, ma, dhi, ni) which corresponds to Hindu-

stani Khamaj That. Its jati is Shadava-Shadava. Ga is not

used in aroha. In avaroha Ri is omitted. Aroha and avaroha

are :-

स ri म1 ma प pa ध2 dha नि2 ni स sa—स sa नि2 ni ध2 dha म1 ma ग3 ga ri3 sa

There is vakra sanchara in avaroha. Svaras used are

Chatushruti Ri, Antara Ga, Suddha Ma, Chatushruti Dh, and

Kaisiki Ni. According to Hindustani notation they are :-

स ri दि di प pa ध1 dha सं—सं di ध1 dha नि ni प pa म ma स sa

Svara groups स sa दि di प्र pr नि ni स sa स· स ri नि ri म s. रि ri मं ga प pa स sa —स sa

नि ni ध1 dha प pa s etc are frequently used.

Pravalashodhi is not a popular raga. The following

composition in this raga is available.

Parabrahámu Raghu Tilaka (Telugu)—Adi Tala.

—Venkatasubbiaḥ.

PUNNAGAVARALI

Hindustani

There is no Hindustani raga called Punnagavarali. Certain

sancharnas of Bilaskhani Todi resemble those of Punnagavarali

(See Bilaskhani Todi).

Karnatak

Punnagavarali is a janya of the 8th melakarta, Hanuma-

todi (ra, gi, ma, dha, ni) which corresponds to Bhairavi That

of Hindustani. It is a Nishadantya raga. Its jati is Sampoorna-

Sampoorna. Aroha and avaroha of this raga are :-

नि3 sa ri1 ri2 म2 ma प pa ध1 dha—नि2 sa ध1 dha प pa म1 ma ग2 ga ri1 sa नि2 sa

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

Sudda Dh and Kaisiki Ni. According to Hindustani notation

they are,

नि sa दि ri गु gu म ma प pa धु dhu नि2—नि2 शु shu प pa म ga दि ri म sa नि1 sa

249

PUSHPA

In this raga andolan on Ga and elongation of Ri are

fascinating. Following svara groups are characteristic of this

raga. There is andolan on Ni also.

ग s s रि ri स sa नि1. s s —स ri ग s s · म ga रि ri s s स sa · म ga s s ग ri ग ga

प pa म mi s s s.

While rendering this raga certain groups of svaras which

produce the effect of Snake Charmers "Pungi" are used to

produce this effect and it is charming. The following composi-

tion in this raga is a very popular one:

Kanaka Shaila Viharini (Sanskrit)--Adi Tala--

Sama Sastry.

PUSHPA

Hindustani

This raga is of recent introduction. It belongs to Kafi

That (Kharaharapriya). Its jati is Audava-Shadava. In aroha

Ma and Ni are not used. In avaroha Ni is not used. In aroha

Ma is introduced in vakra sanchara. Aroha and avaroha are :-

स sa रि ri गू gu म pa ध sa—सं chha प pa —गू gu म ma —ri ri स sa

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, and

Tivra Dh. Vadi is Ri and Samvadi Pa. Pakad or Gunjan svara

groups are :- ri रि ga प pa ध pa —म ma ग ri स sa. This raga is sung

during night. It possesses sringara rasa.

It sounds as if this raga has been obtained by introducing

Suddha Ma in raga Shivaranjani.

A composition in raga Pushpa is :-

Gori Savan Ke Din Aye—Trital(Madhyam)—

Y. D. Bhatt.

Raga Shivaranjani resembles Pushpa.

Shivaranjani—Ma is not used. (See Shivaranjani)

Karnatak

There is no raga called Pushpa, nor one which resembles

this Hindustani raga.

250

RAGANIDHI

PUSHPALATIKA

Hindustani

There is no Hindustani raga called Pushpalatika. There is a raga called only Pushpa. This does not resemble the Karnatak raga Pushpalatika. Hindustani raga Palasi resembles Pushpalatika, Aroha and avaroha of Palasi are,

स रि ग म प नि सँ—सँ नि प म ग रि स

(See Palasi)

Karnatak

Pushpalatika is derived from the 22nd Melakarta Khara-hapriya (ri, ga, ma, dhi, ni) which corresponds to Hindustani Kafi That. Jati of Pushpalatika is Shadava-Shadava. Dh is omitted in this raga. Aroha and avaroha of Pushpalatika are:-

स रि2 ग2 म1 प नि2 सँ—सँ नि2 प म1 ग2 रि2 स

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

स रि ग म प नि सँ—सँ नि प म ग रि स

This is a very pleasing raga but not frequently heard. The following composition is some times played by Nadaswara artists,

Ikanaina Na Moravinarada (Telugu)—Adi Tala—Tirupati Narayanaswamy.

Old name for the present day Pushpalatika seems to have been Kalindi.

Karnatak ragas Manirangu, Rudrapriya, and Poorna-shadja have some resemblance to Pushpalatika.

Manirangu—Does not use Ga in aroha. In avaroha Ga is elongated.

स रि म प नि सँ—सँ नि प म ग ग स रि स

(See Manirangu).

Poornashadja—Has the same aroha and avaroha as Pushpalatika, But it is a janya of 20th Melakarta Natabhairavi. (See Poornashadja)

Rudrapriya—In aroha Pa is not used.

स रि ग म नि सँ—सँ नि प म ग रि स.

(See Rudrapriya).

251

PUSHPARANJANI

Hindustani

Pushparanjani belongs to Poorvi That (Kamavardhini). Its jati is Shadava-Shadava. Dh is not ussd. Aroha and avaroha are :-

स रि ग म प नि सँ—सँ नि प म ग रि स

Svaras used are Komal Ri, Tivra Ga, both Suddha and Prati Ma, and Tivra Ni. Both Suddha and Prati Ma occur side ' by side म म in both aroha and avaroha. Pakad or Gunjan svara groups are :-

नि . रि गा . म म . नि स

Vadi is Ga and Samvadi Ni. This raga is sung during the second prahara of night.

This is a newly introduced raga and is not popular yet. A composition in this raga is :-

Akhiyan Pyasi Piya Darshan Ki—Trital (Madhya)

Y. D. Bhatt.

Karnatak

There is no Karnatak raga called Pushparanjani nor one which resembles this Hindustani raga.

BIBLIOGRAPHY

Vishnu Narayana Bhatkhande--Hindustani Sangeeta Paddhati--Parts I to IV. Hindustani Sangeeta Paddhati Kramik Pustaka Malika--Parts I to VI.

Tiruvottiyur Tyagaraja--Sankirtana Ratnavali.

Veena Kuppa Iyer--Pallavi Svara Kalpavalli.

V. Venkatagiriyappa--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 Vigyana--Parts I to VI.

S. N. Ratanjankar--Abhinava Geeta Manjari.

K. Vasudevachar--Shree Vasudeva Keertanamanjari.

Ramakrishna Vaze--Sangeeta Kala Prakash.

S. L. Sapre--Sangeeta Kala Prakash.

Vasanta 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

• Indicates Ragas which are not printed in the proper alphabetical order

K

Kadanakutuhalam or Katanakutuhalam .. 1

Kafi .. 2

Kafi Jilha .. 3

Kafi Kanada .. 3

Kaikavashi .. 3

Kaishika Ranjini .. 4

Kalagada .. 5

Kalakanti .. 6

Kalanidhi .. 6

Kalavati .. 7

Kalingada .. 9

Kalyani or Kalyani .. 10

Kalyana Vasantha .. 11

Kamalamanohari .. 12

Kamalaranjani .. 13

Kamavardhani (Kashiramakriya) .. 14

Kamboji or Kambodhi .. 15

Kamod .. 16

Kanada or Kanara .. 18

Kanada Bahar .. 19

Kanada Malhar .. 20

Kanakakusumavati .. 21

Kanakambari .. 21

Kanakangi (Kanakambari) .. 22

Kannada .. 23

Kannada Bangala .. 25

Kannada Gauḷa .. 26

Kantamani (Kuntala) .. 27

Kapi .. 27

Kapinarayani .. 28

Karnaranjini .. 29

Karnataka Byag .. 29

254

RAGANIDHI

INDEX

235

Karnataka Devagandhari .. 30

Karnataka Kapi .. 31

Karpurabharani .. 32

Kashiramakriya .. 33

Kathi Mand .. 33

Kedara .. 34

Kedar Bahar .. 36

Kedaragaula .. 37

Kedara Nata .. 38

Kesari .. 39

Khamaj or Khamas .. 39

Khambavati .. 41

Khambavati Khamaj* .. 66

Khammajee .. 42

Khammajee Bhatiyar .. 43

Khammajee Kanada* .. 67

Kharaharapriya (Shriragam) .. 43

Khat or Shat .. 44

Khat Todi .. 45

Khokar .. 45

Kiranavali .. 46

Kiravani (Kiranavali) .. 47

Kohaj .. 48

Kokilabbashini .. 49

Kokiladhvani .. 49

Kokila Pancham .. 50

Kokilarava .. 53

Kokilavarali .. 53

Kolahala .. 54

Kolahas .. 55

Komal Asavari .. 55

Komal Bageshree .. 56

Komal Bhairav .. 57

Komal Desi .. 57

Komal Dhanashree .. 58

Komal Ramkali .. 59

Kosala (Kusumakara) .. 60

Koushi Bhairav .. 60

Koushikadhvani (See Hindoli) ..

Kshanika ..

Kukubh Bilaval .. 63

Kumud .. 64

Kumbhini .. 68

Kumudakriya .. 67

Kunthala .. 69

Kunthalavarali .. 70

Kuranji .. 72

Kusumakara (See Kosala) ..

Kusumaranjani .. 72

Kuthuhala .. 73

L

Lacchasakh .. 74

Lachari Todi .. 75

Lajavanti .. 76

Lakshmi Kalyan .. 77

Lakshmi Todi .. 78

Lalit or Lalal .. 78

Lalit Bhairav .. 79

Lalitha .. 80

Lalitha Gauri (Bhairav That) .. 82

Lalith Gauri (Marwa That) .. 83

Lalitha Kali .. 84

Lalithavari .. 85

Lalit Pancham or Lalitha Panchama .. 85

Lankadahan Sarang .. 87

Lankeshree .. 89

Latangi (Geetapriya) .. 90

Latika .. 90

Lilavati .. 91

Lokaranjini .. 92

M

Madhavamanohari .. 93

Madhukauns .. 94

Madhumad Sarang .. 96

Madhumalati .. 97

256

RAGANIDHI

Madhuradwani .. 97

Madhuranjani .. 97

Madhuri .. 99

Madhuvanti .. 99

Madhuvanti Malhar .. 100

Madhyamavati .. 101

Maburi .. 102

Malagunji .. 103

Malabari .. 104

Malakosh .. 106

Malan .. 107

Malarani .. 107

Malashree .. 108

Malashringar .. 110

Malati Basant .. 111

Malav .. 112

Malava Kedara .. 112

Malava Panchama .. 113

Malavashree .. 113

Malavi .. 114

Malayamaruta .. 116

Malhar .. 116

Maligaura .. 117

Mallikavasantbam .. 119

Maluha Kedar .. 120

Maluha Sarang .. 121

Mamata or Raj .. 122

Manavati (Manoranjani) .. 123

Manavi .. 123

Mand .. 124

Mandari .. 125

Mangala Kanada (See Mudrika Kanada) ..

Mangala Kaishiki .. 126

Manirangu .. 127

Manjari .. 128

Manjh .. 129

Manji .. 130

Manobar .. 131

INDEX

257

Manohari .. 132

Manoranjini .. 134

Mararanjini (Sharavati) .. 135

Marga Bihag .. 135

Marga Deshi or Marga Deshika .. 136

Marga Hindola .. 137

Maru Bihag .. 139

Maruva or Marwa .. 140

Maru Dhanyasi or Maruva Dhanyasi .. 142

Maru Sarang .. 143

Mayamalavagaula .. 144

Mayapradeepa .. 145

Mayuradhvani .. 146

Mechabhauli .. 146

Mechakalyani .. 147

Mechakangi .. 147

Meen .. 148

Meghambari .. 148

Megh or Megh Malhar .. 149

Megharanji or Megharanjini .. 151

Meladalan (Thatavidhwamsa) .. 153

Mia Malhar .. 154

Miaki Sarang .. 156

Mirabai ki Malhar .. 157

Mohana .. 157

Mohana Kalyani .. 158

Mohanamata .. 159

Mooltani .. 160

Moorati .. 161

Motki .. 162

Mudrika Kanada .. 162

Mukhari .. 163

N

Nabhkauns .. 165

Nabhomani .. 166

Nadabramha .. 167

Nadakalyani .. 168

Nadanamakriya .. 168

258

RAGANIDHI

Nadaramakriya

Nadavarangini

Nagabharana (See Naganandini)

Nagabhushini

Nagadhwani

Nagagandhari

Naganandini (Nagabharana)

Nagasvaravali or Nageshvari

Nagavarali

Nalinikanti

Namanarayani

Nand or Anandi or Ananda Kalyan

Nandakauns

Nandanat

Narayana Deshakshi

Narayanagaula

Narayani

Nasikabhushani (Nasamani)

Nat or Nata

Nata Bhairav

Natabhairavi (Nariritigaula)

Nata Bihag

Nata Bilaval

Natakapriya (Natabharana)

Nata Kedar

Natakuranji or Natakuranjika

Nata Malhar

Natanarayani or Natanarayana

Navaneetam (Nabhomani)

Navarasakannada

Navaratnavilasm

Navaroj

Nayaki

Nayaki Malhar

Neelambari

Neelaveni

Neetimati

Nigamagamini

INDEX

259

Nirmalangi

Niroshta

Nishada

Nishasakh

Noor Sarang

O

P

Padi

Padmavati

Pahadi

Palasi

Panch Kalyan

Pancham

Pancham Malakosh

Pantuvarali

Paraj or Paraju

Paraj Bahar

Pashupatipriya

Pata Bahar

Pata Bihag

Patadeep.

Patamanjari

Pavani (Kumbhini)

Phalamanjari

Phenadhyuti

Piloo

Poorba or Poorbya

Pooria

Pooria Dhanashree

Poornachandrika

Poorna Lalitha

Pooorna Shadja

Poorna Pancham

Poorvagaula

Poorva Varali

Poorvi

Poorvi Kalyani

260

RAGANIDHI

Poosha Kalyani

.. 240

Prabhat Bhairav

.. 241

Prabhupriya

.. 242

Pradeepaki or Patadeepaki

.. 243

Pradeepika

.. 244

Pramodini

.. 245

Pranavapriya

.. 246

Pratapavarali

.. 246

Pravalashodhi

.. 247

Punnagavarali

.. 248

Pushpa

.. 249

Pushpalatika

.. 250

Pushparanjani

.. 251

ERRATA

Page

Line

Printed

Read

1

Katanakutuhala

Kadanakutuhala

or Katanakutuhala

5

5

स नि य न य स

स नि यु स॰्यु सि स

13

24

Bilaval that

Bilaval That

19

8

Tivra Dh is ommitted

Tivra Db`is used

43

Kharaharapriya

Kharaharapriya

Hindustani

46

6

Komal Nj

There is no....

Komal Ga

There is no.

47

13

aroha

avaroha

57

Fret No 1

Fret No 2

77

13

म व

मं व

80

18

Lalith

Lalitha

82

10

म् ध म न

मं धु मं न

85

9

Pn

Pa`

86

19

Suddha

Suddha

88

27

Sacnara

Sanchara

89

2

fati

Jati

92

22

स ग1 म2

स ग2 म2

92

23

Antara

Antara

94

8

स रि2 ग3

स रि2 ग3

96

16

नी व

नि व

100

(See

Simhendramadhyam)

(See Simhendramadhyam)

103

1

स रि स म रि प ध स

`Karnatak

स रि स ग रि प ध सं

107

Alan

Malan

111

17

Basant म ग म रि स

Basant म ग म ग रि स

Karnatak

130

Raga Manji....

Raga Manji....

131

3

Shadhava

Shadhava

132

3

groups

group

262

RAGANIDHI

Page Line Printed Read

133 13 Sadhara Sadhārana

136 17 संगमपस संगमपस

136 29 सरिगपधुसं स रिग प धु स

139 2 aroha and aroha aroha and avaroha

142 26 Marwa Dhanyasi Maru Dhanyasi

143 8 Kakali Ni Kaisiki Ni.

144 1 Bridavani Sarang Brindavani Sarang

154 12 Thatadhwamsa Thatavidhwamsa

163 28 Asavari Thats Asavari That

168 12 ra ri

170 5 are is

185 30 सरिगमपधुसं सरिगमरधुनीसं

186 13 र1 र2

187 Nata Bilaval Nata Bibhag

187 21 Shadava-Sam-poorna Type Shadava-Shadava Type

188 Nata Bilval Nata Bilaval

189 Natakapriya is.. Natakapriya is..

193 18 ध2 न2 ध2 स ध2 न2 ध2 स

198 5 (Shahana) (See Shahana)

201 6 (Telugu)-Adi Tala (Telugu)-Adi Taia-Ponnaya Pillai

208 26 Svaras Svara

228 23 Tivra Dn Tivra Dh

232 30 Notation the are : Notation they are :

237 31 is olated isolated

239 9 suggst suggest

239 27 corrersponds corresponds

240 25 Intersting interesting

248 17 Parabrahamu Parabramhamu

251 3 ussd used