1. Raga Nidhi A Comparative Study of Hindustani & Karnatik Ragas Subba Rao B. Vol 4

RAGANIDHI

A COMPARATIVE STUDY OF

HINDUSTANI AND KARNATAK RAGAS

VOLUME IV

Q to Z

AND APPENDIX A to Z

BY

B. SUBBA RAO

Retired Deputy Director of Agriculture, Madhya Pradesh ;

Ex-Member of the Central Advisory Board for Music, New Delhi;

Formerly Member of Board of Studies in Music, Nagpur University ;

Formerly Member of Programmes Advisory Committee

A.I.R., Nagpur ;

Preliminary Audition Committees, All-India Radio,

Nagpur and Bangalore.

Member of Experts’ Committee, Music Academy, Madras

AIDED BY ‘THE SANGEET’ NATAK AKADEMI

NEW DELHI

PUBLISHED BY

THE MUSIC ACADEMY, MADRAS

115-E, MOWBRAY’S ROAD, MADRAS-14

THE MADRAS MUSIC ACADEMY CONFERENCE 1963

The Author of Raganidhi demonstrating Karnatak and Hindustani Ragas

First Published 1966

All rights reserved by the

MUSIC ACADEMY, MOWBRAY'S ROAD, MADRAS

DEDICATED AS

A HUMBLE TOKEN OF GRATITUDE

TO ALL THOSE WHO HAVE INSPIRED,

APPRECIATED AND HELPED ME IN OFFERING

THIS SMALL CONTRIBUTION TO THE

CAUSE OF INDIAN MUSIC

Rupees Ten- 12·50

PRINTED IN INDIA BY K. A. KORULA AT THE WESLEY PRESS, MYSORE

Blessings from

HIS HOLINESS SHIVANANDAJI

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

CONTENTS

Author's Note

PAGE

vii

Publisher's Note

. . . .

ix

Signs and abbreviations used

. . .

xi

Nomenclature of Svaras or Notes

. . .

xii

Ten Thats or Hindustani and the ten corresponding

Karnatak Melakartas

. . .

xiv

Varieties of svaras used in Hindustani and

Karnatak systems

. . . .

xv

Seventy-two Melakartas of Karnatak Sangīt

.

xvi

Chart indicating how twelve svaras of Hindustani

become sixteen of Karnatak

.

xix

Raganidhi—Ragas Q to Z

. . .

1 to 221

Raganidhi—Appendix—Ragas A to Z

.

223 to 296

Bibliography

. . .

297

Index to ragas in Raganidhi Vol. IV (Q to Z)

.

299

Index to ragas in Appendix (A to Z)

. .

302

Errata

. . . .

304

AUTHOR'S NOTE

I feel happy that the Fourth Volume of Raganidhi is now ready for publication.

I have very humbly dedicated this Volume to those who inspired, appreciated and helped me in writing and publishing Raganidhi.

I offer my grateful thanks to music lovers, editors of newspapers and magazines in India and abroad who have appreciated my humble attempt in the comparative study of Hindustani and Karnatak ragas.

In this Volume nearly eighty ragas which were not included in the Volumes pertaining to them are published in the Appendix.

As new ragas are being coined and old ragas given new life in both Hindustani and Karnatak systems of music, it will become necessary to publish supplementary Volumes of Raganidhi from time to time. I am confident that the Music Academy, Madras, to whom I have great pleasure in parting with the copy right for all Volumes (I to IV) published already, will arrange for this.

I cannot adequately express my gratitude to Dr. V. Raghavan M.A., Ph.D. for the keen interest he has taken in me and the Raganidhi all these years.

I am grateful to the Madras Music Academy for nominating me as a Member of its Experts' Committee. I am proud of this honour. It has been a great pride and pleasure for me to participate in the Conferences of the Academy and give demonstrations before the Experts Committee's meetings of the Academy during the last seven years. I pray God that He may enable me to enjoy this great privilege for many

years.

more years. I wish the Music Academy and its management

years of prosperity and utility.

I am under a deep debt of gratitude to the authors of

books and journals which I have consulted while preparing

Raganidhi.

My thanks are due to the Sangeet Natak Akademi, New

Delhi for their aid towards the publication of the Raganidhi.

I thank Shri K. A. Korula, Superintendent, Wesley Press,

Mysore for having printed Volume IV of Raganidhi quickly

and neatly.

"Sreenivasam"

1297, IV Cross Road

Krishnamurtipuram

Mysore-4

B. Subba Rao

PUBLISHER'S NOTE

Volume II of the Raganidhi was brought out by the

Academy in 1964 and Volume III in 1965. Keeping to our

schedule we have been able to bring out the IVth and final

Volume, on the eve of our 40th Conference, 1966. It is a

matter of great gratification to the Academy and to myself

that this important undertaking in the field of the comparative

study and appreciation of the Ragas of the sister systems of

Hindustani and Karnatic music has been successfully completed.

The history of this undertaking has been set forth in the

Publisher's Note to Volume II. The Music Academy, Madras,

desires to record its thanks to the Central Sangeet Natak

Akademi for its grant of Rs 5,000 to cover part of the expenses

of bringing out this large work and to the author Sri B. Subba

Rao who, in addition to his labours on its compilation, has

worked hard to see the Volumes through the Press. Owing to

his advanced age and his desire to complete the work without

any more delay, it has not been possible to make any additions

and alterations that may be necessary either to fill up any gaps

that may remain or to make the treatment fuller. The

Academy hopes to bring out a supplementary volume some

time later. The Academy would appeal to musicians and

scholars in the field of Hindustani and Karnatic music to

convey to them their suggestions and additional material for

incorporation in such a supplementary volume.

It had been a source of great pleasure and satisfaction to

me, who have been engaged in bringing out different kinds of

scholarly works in the Music Academy, Madras, to have taken

up this work in the field of Hindustani-Karnatic comparative

study. It should certainly have been a work of far greater

pleasure for the author Sri B. Subba Rao whose interest in the

art has been so consuming and continuous that despite his

pre-occupations with his official duties as an Agricultural

Department Officer, he has pursued the study and practice of

music with enthusiasm and knowledge for over half a century.

In fact the whole family of Sri Subba Rao is marked by this

passion for music and its practice, vocal and instrumental.

Sri Subba Rao (born, 1894) imbibed his love of music from

his own parents and very early in life started learning both

vocal and instrumental music. He had attained a proficiency

adequate for accompanying vocalists and giving independent

recitals and the All-India Radio had invited him to be a

Member of their Advisory Board for Music and the Panels of Judges of

Hindustani Music competitions for a number of years. While

in service in Nagpur, he was connected with the University

of Nagpur and its Music Department and had delivered

many lectures on Hindustani and Karnatic systems. In addi-

tion to this he had tried his hand also in the art of composition

of pieces like Lakshana Gitas, Kritis and Khyals and had

improvised a stringed instrument called Chitravati Vina which

can be used as both Veena and Gotruvadyam of South or its

North Indian counterpart the Vichitra Veena. But it may be

said that the magnum opus of Sri B. Subba Rao is the

Raganidhi in which his knowledge of the two systems, of

theory and practice and of vocal and instrumental music have

all been completely and most fruitfully utilised.

The Music Academy, Madras, expressed its appreciation of

his contribution not only by nominating him to their Experts'

Committee, but also by deciding to give him a Special Award

of Distinction in appreciation of his services to the cause of

music at the Sadas of the 40th Conference.

Music Academy

Madras

18th December, 1966

V. Raghavan

SIGNS AND ABBREVIATIONS USED

Hindustani—H Karnatak—K

Seven svaras are represented as under :

Shadja—Sa—स

Rishabha—Ri—र

Gandhara—Ga—ग

Madhyama—Ma—म

Panchama—Pa—प

Dhaivata—Dh—ध

Nishada—Ni—नि

Mandra Saptak Svaras.

स रे ग म प ध नि (A dot below each svara).

Madhya Saptak Svaras.

स रि ग म प ध नि (No dot).

Tara Saptak Svaras.

स रि ग॒ म प॒ ध॒ नि॒ (A dot above each svara).

Komal stands for European Flat or Karnatak Taggu. Sign

used is a slant stroke below each svara as रि ग म ध नि.

Tivra stands for European Sharp or Karnatak Hetchu.

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

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

the note—म॑.

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—

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 - रि नि etc.

Elongation of svaras indicated by a S as in म स रि स नि S.

Meend—Indicated by a curved line above the svaras included

in the meend—स म रि - प ध etc.

Halt—Indicated by a dash—म - ग - प ग - etc.

NOMENCLATURE OF SVARAS OR NOTES

In Bharatiya Sangeet, excepting the two svaras Sa and Pa, the other five svaras have, broadly speaking, two variations each—the lower pitched and the higher pitched. In Hindustani the terms Komal and Tivra are used to indicate these. In Karnatak the terms Taggu and Hetchu are used to indicate these Flats and Sharps used in Western Music for the same purpose. In Karnatak however these Taggu and Hetchu svaras have other names as well. There are therefore twelve notes or svaras (2+5×2=12) in an Octave. One thing to be remembered is that in Bharatiya Sangeet the Shadja or Sa which is taken to be the Base Note or Adhara Shruti is not a note of constant pitch unlike the ‘C’ of European Music which is a 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 Shruti (Shadja) as they are all relative and not fixed.

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

स िरि ग़ म प धू निं नि.

In Karnatak the signs given for these are,

स - िर₁ - िर₂ - ग₁ - ग₂ - म₁ - म₂ - प - ध₁ - ध₂ - नि₁ - नि₂.

In the above िर₁ and नि₁ are not found but contrary to expectation िर₂ and नि₂ are found. It happens to be like this. In Karnatak, िर₂ (Tivra Ri - िर ) goes upto the pitch or position of ग₂ (Komal Ga - ग ) and becomes िर₂. ध₂ (Tivra Dh - ध) goes upto Ni₂ (Komal Ni - िन ) and becomes िन₁.

xii

goes upto Ni₂ (Komal Ni - िन ) and becomes Dh₃. Similarly Ga₂ (Komal Ga - ग ) comes down to the pitch of Ri₂ (Tivra Ri - िर ) and becomes िर₁ and Ni₂ (Komal Ni - िन ) comes down to the pitch of Dh₂ (Tivra Dh - ध ) and becomes ध₁.

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 (िर ) and utter it as Ga (Ga₂ or Suddha Ga) is a problem. The svara group of स िर₁ ग₁ म of South in which Suddha Ga occurs will only be rendered by the Hindustani musicians as स ग़ िर₁ म. Similarly स िर₂ ग₂ म would be स ग़ 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 - िर - ग - म - प - ध - नि

(Tivra)—(Tivra)—(Komal) (Tivra)—(Tivra)

According to Karnatak, the notation for equivalent notes, are,

स - िर₂ - ग₂ - म₁ - प - ध₂ - नि₂.

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

स - िर₁ - ग₁ - म₁ - प - ध₁ - नि₁.

(ra)—(ga)—(ma) (dha)—(na)

According to Hindustani notation the equivalent notes are,

स - िर - ग - म - प - ध - नि.

xiii

Ten Thats of Hindustani Sangeet and the ten corresponding Karnatak Melakartas

Serial No.

Hindustani That

Svaras used

Corresponding Karnatak Melakarta

M.K. No. in the Melakarta Scheme

Svaras used

1. Kalyan or Yaman स रि ग म प ध नि

Mechakalyani

65. स रि2 ग3 म2 प ध3 नि2

66. Bilaval स रि ग म प ध नि

Dheerasankarabharana

29. स रि2 ग3 म1 प ध2 नि2

30. Khamaj स रि ग म प ध नि

Harikambhoji

28. स रि2 ग2 म1 प ध2 नि2

29. Bhairav स रि ग म प ध नि

Mayamalavagaula

15. स रि1 ग3 म1 प ध1 नि3

16. Poorvi स रि ग म प ध नि

Kamavardhini

51. स रि1 ग2 म2 प ध3 नि3

52. Marwa स रि ग म प ध नि

Gamanashrama

53. स रि1 ग2 म2 प ध3 नि3

54. Kafi स रि ग म प ध नि

Kharaharapriya

22. स रि2 ग2 म1 प ध2 नि2

23. Asavari स रि ग म प ध नि

Natabhairavi

20. स रि3 ग2 म1 प ध1 नि2

21. Todi स रि ग म प ध नि

Subhapantuvarali

45. स रि1 ग2 म2 प ध3 नि3

46. Bhairavi स रि ग म प ध नि

Hanumatodi

8. स रि2 ग2 म1 प ध1 नि2

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

No.

Svara

HINDUSTANI

Name of variety

Sign

KARNATAK

Name of variety

Signs

Fixed svaras–Four extra svaras of Karnatak

1. Shadja Shadja स Shadja स Sa Adhara Shruti-Base Note. No variation

2. Rishabha (Rishab) Komal Ri र Suddha Rishabha र1 ra

3. " Tivra or Suddha Ri र Chatusruti Rishabha र2 ri This becomes also Suddha Ga of South–Ga1 or ga

4. Gandhara Komal Ga ग Sadharana Gandhara ग1 gi This becomes also Shatsru-ti Ri of South–Ri2 or ru

5. " Tivra or Suddha Ga ग Antara Gandhara ग2 gu

6. Madhyama Komal or Suddha Ma म Suddha Madhyama म1 ma

7. Prati or Tivra Ma म Prati Madhyama म2 mi

8. Panchama Panchama प Panchama प Pa No variation

9. Dhaivata Komal Dh ध Suddha Dhaivata ध1 dha This becomes also Suddha Ni of South–Ni1 or na

10. " Tivra or Suddha Dh ध Chatusruti Dhaivata ध2 dhi

11. Nishada (Nikhad) Komal Ni नि Kaisiki Nishada नि1 ni

12. " Tivra or Suddha Ni नि Kakali Nishada नि2 nu

Chakra

M.K.No.

Suddha Madhyam Ma1-me

Svaras used

Prati Madhyama Ma2-mi

M.K.No.

Chakra

Present Name

Old Name

Present Name

Old Name

I Indu

Kanakangi Ratnangi Ganamurti Vanaspathi Manavathi Tanarupi

Kanakambari Phenadyuthi Ganasamavarali Bhanumathi Manoranjani Tanukirti

ra-ga-dha-na ra-ga-dha-ni ra-ga-dha-nu ra-ga-dhi-ni ra-ga-dhi-nu ra-ga-dhu-nu

Salagam Jalamvaram Jhalavarali Navaneetam Pavani Ragupriya

Sougandhini Jaganmohana Dhalivarali Nabhomani Kumbhini Ravikriya

VII Rishi

II Netra

Senavathi Hanumatodi Dhenuka Natakapriya Kokilapriya Rupavathi

Senagrani Janatodi Dhuni Bhinna-shadja Natabharana Kokilarava Rupavali

ra-gi-dha-na ra-gi-dha-ni ra-gi-dha-nu ra-gi-dhi-ni ra-gi-dhi-nu ra-gi-dhu-nu

Gavambodhi Bhavapriya Subhapantuvarali Shadvidhamargini Suvarnangi Divyamani

Girvani Bhavani Shivapantu-varali Sthavaraj Souveera Jeevantini

VIII Vas

III Agni

Gayakapriya Vakulabharana Mayamalava-gaula Chakravaka Suryakanta Hatakambari

Geyabejjujji Dhati Vasant Bhairavi Mayamalava-gaula Toyavegavahini Chayavati Jayasuddha Malavi

ra-gu-dba-na ra-gu-dha-ni ra-gu-dha-nu ra-gu-dhi-ni ra-gu-dhi-nu ra-gu-dhu-nu

Dhavalambari Namanarayani Kamavardhini Ramapriya Gamanashrama Vishvambhari

Dhavalanga Namadeshi Kashiramakriya Ramamanohari Gamakapriya Vamshavali

IX Brahm

IV Veda

Jhankaradhvani Natabhairavi Keeravani Kharahara-priya Gaurimanohari Varunapriya

Jhankara-bhramari Nariritigoula Kiranavali Sriraga Gaurivelavarali Veeravasanta

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

Shyamalangi Shanmukha-priya Simhendra-madhyama Hemavati Dharmavati Nithimathi

Shyamala Chamara Sumadhyuthi Deshisimharava Dhamavati Nishada

X Disi

The Seventy-two Melakartas of Karnatak Sangeet (Cont.)

Chakra

M.K.No.

Suddha Madhyama M-ma

Svaras used

Prati Madhyama M-mi

M.K.No.

Chakra

V

Mararanjani

Sharavati

ri-gu-dha-na

Kantamani

Kunthala

Bana

Charukesi

Tarangini

ri-gu-dha-ni

Rishabhapriya

Ratipriya

Sarasangi

Sourasena

ri-gu-dha-nu

Latangi

Geetapriya

XI

Harikambhoji

Harikedara-gaula

ri-gu-dhi-ni

Vachaspati

Bhushavati

Rudra

Dheerasankara-bharana

Dheerasankara-bharana

ri-gu-dhi-nu

Mechakalyani

Shantakalyani

Naganandini

Nagabharana

ri-gu-dhu-nu

Chitrampari

Chaturangini

VI

Yagapriya

Kalavati

ru-gu-dha-na

Sucharitra

Santanamanjari

Rutu

Ragavardhini

Ragachudamani

ru-gu-dha-ni

Jyotisvaroopini

Jyotiragam

Gangeyabhushini

Gangatarangini

ru-gu-dha-nu

Dhatuvardhani

Dhautapan-chama

XII

Vagadheeshvari

Bhogachayanata

ru-gu-dhi-ni

Nasikabhushani

Nasamani

Aditya

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 (H and K)

Komal r̥ (H)

Tivra r̥ (H)

Komal g (H)

Tivra g (H)

Suddha g (H)

Adhara Shruti or Base Note

Ri (Flat) Ri1 ra

Ri (Sharp) Ri2 ri

Ga (Flat) Ga1 ga

Ga (Sharp) Ga2 gu

Ma (Flat) Ma1 ma

Suddha Ri (K) Chatusruti Ri (K)

Suddha Ga (K) Antara Ga (K)

Suddha Ma (K)

Prati m (H)

Komal d (H)

Tivra d (H)

Komal n (H)

Tivra n (H)

Ma (Sharp) Ma2 mi

Dha (Flat) Dh1 dha

Dha (Sharp) Dh2 dhi

Ni (Flat) Ni2 ni

Ni (Sharp) Ni3 nu

Prati Ma (K) Suddha Dh (K) Chatusruti Dh (K) Kaisiki Ni (K) Kakali Ni (K)

Suddha Ni1 = Na

RAGACHUDAMANI

Hindustani

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

Karnatak

Ragachudamani is the old name for the 32nd Melakarta raga Ragavardhani (See Ragavardhani). Ragachudamani is a janya of the 32nd Melakarta raga Ragavardhani (ri, gu, ma, dha, ni).

There are two types of Ragachudamani. Type 1 is Audava-Shadava. In aroha Dh and Ni are omitted and in avaroha Pa is not used. In avaroha there is a vakra sanchara.

Aroha and avaroha of this type are:

स ri2 ग2 म1 प सं—सं नि2 ध1 म1 ri3 ग2 स.

Svaras used are Shatsruti Ri, Antara Ga, Suddha Ma1 Suddha Dh and Kaisiki Ni2. According to Hindustani notation they are,

स रे ग म प—सं नि ध म ग रे स.

Komal Ga (ग) represents Shatsruti Ri (री3) of Karnatak.

Type 2 of Ragachudamani is Shadava-Shadava with vakra sanchara in aroha. In aroha Dh is omitted and in avaroha Ga is not used. Aroha and avaroha of this type are,

स म1 ri3 रि2 म1 प नि2 सं—सं नि2 ध1 प म1 ri3 स.

According to Hindustani notation they are,

स म ग म प नि सं—सं नि ध प म ग स.

A composition in the Shadava-Shadava type of Raga-chudamani is:

Shweta Ganapatim (Sanskrit)—Triputa Tala

—Muttuswamy Dikshitar.

RAGAPANJARAMU

Hindustani

There is no Hindustani raga called Ragapanjaramu. Raga Pulindika having the following aroha and avaroha resembles Ragapanjaramu of Karnatak sangeet.

दि ri—स ri म—ध नि सं—सं नि ध म ri स.

2

RAGANIDHI

In Pulindika Ga and Pa are not used. Avaroha has the same svaras as Ragapanjaramu (See Pulindika).

Raga Sorat also resembles Ragapanjaramu in avaroha.

In aroha Dh is not used in Sorat (See Sorat).

Karnatak

Ragapanjaramu is derived from the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani. Jati of this raga is Shadava-Audava. Ga is not used in aroha. In avaroha Pa and Ga are omitted. Aroha and avaroha of this raga are,

स रि3 म1 प ध2 नि2 सं–सं नि2 ध2 म1 रि3 स.

Svaras used are Chhatsruti Ri, Suddha Ma, Chhatusruti Dh and Kaisiki Ni. According to Hindustani notation they are,

स रि म प ध नि ध सं–सं नि ध म रि स.

This is not a popular raga. The following composition is occasionally heard.

Sarvabhauma Saketa (Telugu)—Deshadi Tala—Tyagaraja.

Karnatak raga Andolika, derived from 28th Melakarta Harikambhoji resembles this raga. In Andolika Dh is not used in aroha.

स रि म प नि सं–सं नि ध म रि स (See Andolika).

RAGAVARDHANI

Hindustani

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

Karnatak

Ragavardhani is Melakarta No. 32 (ru, gu, ma, dha, ni) of Karnatak sangeet. It is called Ragachudamani by Dikshitar school. Aroha and avaroha of this Sampoorna-Sampoorna raga are,

स रि3 ग3 म1 प ध2 नि2 सं–सं नि2 ध1 प म1 ग3 रि3 स.

RAGESHREE OR RAGESHVARI

Hindustani

This raga is popularly called Rageshree. It is a very pleasing raga. Rageshvari belongs to Khamaj That (Harikambhoji). Its jati is Audava-Shadava. Ri and Pa are omitted in aroha. In avaroha Pa is dropped. Aroha and avaroha of Rageshvari are,

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

Svaras used are Tivra Ri, Tivra Ga, Komal Ma, Tivra Dh and both Komal and Tivra Ni. Only Tivra Ni is used in aroha. In one kind of avaroha only Komal Ni is used. In the second kind Tivra Ni is also used in a vakra sanchara as स नि ध नि ध म.

Sangati ध म is frequently used. Some musicians sing this raga with only Tivra Ni in both aroha and avaroha as shown in the aroha and avaroha. Pakad or Gunjan svara groups are रि स नि . धु नि स ग म. Vadi is Ga and Samvadi Ni. This raga is sung in the night. Even in aroha only Komal Ni may be used but it will sound like Bageshree. Moreover there is a raga Madhuradhwani in which only Komal Ni is used: All other svaras are like Rageshree (See Madhuradhwani).

3

RAGESHREE OR RAGESHVARI

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

स ग ग म प ध नि सं–सं नि ध प म ग रि स.

In the above Komal Ga (ग) represents Shatsruti Ri (रि2) of South.

Ragavardhani is not a popular raga, nor is it an important Melakarta. Compositions in this raga are,

Mrityunjayam (Sanskrit)—Khandajati Triputa—Jayachamaraja Wadiyar.

Gana Sudha Rasa Me Paramananda (Telugu)—Rupaka Tala—Balamurali Krishna.

Most popular type of Rageshree is the one in which only

Tivra Ni is used.

Compositions in Rageshree are,

Prathama Sur Sadhe--Jhaptai (Madhya).

Bana Bana Koyaliya--Teental (Drut).

Hindustani ragas Madhuradhvani (Durga of Khamaj That),

Bhinnashadja, Bageshree, and Suddha Sohoni resemble

Rageshree.

Madhuradhwani (Durga of Khamaj That)--Only Komal Ni is

used. Ri is not used. (See Madhuradhwani).

Bhinnashadja--Only Tivra Ni is used. Ri is not used. (See

Bhinnashadja).

Bageshree--Ga is Komal. Ni is also Komal in pure Bageshree

(See Bageshree).

Suddha Sohoni--Ri is not used in aroha. In avaroha only

Komal Ri is used. Ga and Dh are Tivra (See Suddha

Sohoni).

There is a Hindustani raga called Rajeshwari and another

called Radheswari. They are entirely different from Rageshree

or Rageshvari.

Karnatak

There is no Karnatak raga called Rageshvari. Karnatak

ragas Ravichandrika, Natakuranji and one type of Hindola have

resemblance to Rageshvari of Hindustani sangeet.

Ravichandrika--Derived from the 28th Melakarta Hari-

kambhoji (Khamaj That). Its aroha and avaroha are,

सा रि ग म ध नि सं—सं नि ध म ग रि स.

Only Komal Ni is used (See Ravichandrika).

Natakuranji--Janya of Harikambhoji. The following aroha

and avaroha are given for this raga.

1. स रि ग म ध नि सं—

सं नि ध म ग स.

Only Komal Ni is used.

2. स रि ग म नि प ध नि सं—

सं नि ध म ग म प म ति स.

Only Komal Ni used. Pa is also used.

Hindola :-- स ग म ध नि सं—सं नि ध म ग स.

In this type of Hindola Dh is Tivra (Chatushruti Dh).

Unlike Rageshree it has Komal Ga (ग) (See Hindola).

RAGESHREE BAHAR

Hindustani

This recently introduced raga is a combination of the two

popular night ragas Rageshree or Rageshwari and Bahar.

Rageshree anga is more prominent in both poorvanga and

uttaranga. Bahar anga is restricted to uttaranga only.

As Rageshree Chaya is more prominent Rageshree Bahar

is included in Khamaj That (Harikambhoji). Its jati is

Shadava-Sampoorna. Ri is not used in aroha. Aroha and

avaroha are,

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

म प ध स—म ध ग—रि ग म ध नि स

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

Suddha Ma, Tivra Dh and both Komal and Tivra Ni. There

are vakra sancharas in both aroha and avaroha. Vadi is Ma

and Samvadi Sa. It is a night raga.

A popular composition in this raga is,

Nava Basant Aya--Jhaptai.

Karnatak

There is no Karnatak raga called Rageshree Bahar, nor

one which resembles this newly introduced Hindustani raga.

6

RAGANIDHI

RAGHUPRIYA

Hindustani

There is no Hindustani raga called Raghupriya, nor one

which resembles this Karnatak Melakarta raga.

Karnatak

Raghupriya is the 42nd Melakarta (ra, ga, ri, dhu, nu).

This Melakarta is called Ravikriya by the Dikshitar school.

Its jati is Sampoorna-Sampoorna. Aroha and avaroha of

Raghupriya are,

स ri1 ग1 म2 प ध2 नि3 सं–सं नि3 ध3 प म2 ग1 ri1 स.

Svaras used are Suddha Ri, Suddha Ga, Prati Ma, Shatsruti Dh

and Kakali Ni. According to Hindustani notation they are,

स ri1 म1 प नि1 सं–सं नि1 ri1 प म1 ri1 स.

In the above, Tivra Ri (ri1) and Komal Ni (नि1) represent

Suddha Ga (ग1) and Shatsruti Db (ध3) respectively of

Karnatak system.

Raghupriya is not a popular raga. Compositions in this

raga are,

Sadananda--Roopaka Tala--Kotiavara Iyer.

Khatilaka Vamshatilaka (Sanskrit)--Adi Tala

--Balamurali Krishna.

RAJA KALYAN

Hindustani

This rare raga belongs to Kalyan That (Mecha Kalyani).

Its jati is Audava-Shadava. Ri and Pa are ommitted in aroha.

Pa is absent in avaroha. Aroha and avaroha of Raja Kalyan

are,

नि स ग-म ग म ग-म ध सं–सं नि1 ध1 म ग-म ग-ри स.

Svaras used are Tivra Ri, Antara Ga, Prati Ma, Tivra Dh

and Tivra Ni. Pakad or diagnostic svara groups are,

नि ri1 ध1 म ग-म ध सं–नि स ग-म ग-री स.

7

RAJARAJESHVARI

Vadi is Ga and Samvadi Ni. This raga is sung in the first

prahara of night. In Raja Kalyan there are chayas of ragas

Pooriya and Maru Bihag as under.

Pooriya ang—नि ध में न- स ध में त- म ध सं. Use of Tivra Ri

removes this chaya.

Maru Bihag ang—सं-त-ध-त or सं ध मं-ग मं-ग-दि ग ri-स.

Above angas of Pooriya and Maru Bihag have to be

introduced to give the raga Raja Kalyan its individuality.

In Mandra Sthayee, the following svaras are characteristic

of this raga त ri नि त ध-म गड. This is a pleasing raga and

deserves to be popularised. The following composition in this

raga is available.

Raja Kalyana Ki Suna Sajani (Lakshanageet)

--Trital (Madhya)--J. D. Patki.

Raja Kalyan may be considered to be a Suddha Rishabha

Pooriya. Hindustani ragas Pooriya, Maru Bihag and Marga Bihag

resemble Raja Kalyan.

Pooriya--Ri is Komal (See Pooriya).

Maru Bihag--Komal Ma is also used in an isolated manner.

Pa is used prominently (See Maru Bihag).

Marga Bihag--Pa is used (See Marga Bihag).

Karnatak

There is no Karnatak raga called Raja Kalyan. Nada

Kalyani which is a recent introduction has some resemblance

to Raja Kalyan of Hindustani. Aroha and avaroha of Nada

Kalyani are,

स ग म ध नि सं–सं नि ध म ग म ri स (See Nada Kalyani).

RAJARAJESHVARI

Hindustani

There is no Hindustani raga called Rajarajesbvari. It

resembles Hindustani raga Asavari very closely. Aroha and

avaroha of Asavari are,

स-रि म प-ध-सं–रि नि ध-प-म ग-रि स (See Asavari).

Rajarajeshvari is a janya of the 20th Melakarta Natabhai-

ravi (ri, gi, ma, dha, ni) which corresponds to Hindustani

Asavari That. Its jati is Audava-Sampoorma. Ga and Ni are

omitted in avaroha. Aroha and avaroha are,

स रि म1 प ध1 सं—सं नि6 ध प म1 रि स

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

Suddha Dha and Kaisiki Ni. According to Hindustani notation

they are,

स रि म प ध सं—सं नि ध प म ग रि स

A composition in this raga is,

Jagadamba Neekemi Ne (Telugu)—Adi Tala.

Allied Karnatak ragas are Amritavahini, Natabhairavi and

the Hindustani Asavari and Jeevanpuri ragas which are now

popular in the South.

Amritavahini—Ni used in aroha. Pa not used in avaroha.

(See Amritavahini).

Natabhairavi—Sampoorna-Sampoorna (See Natabhairavi).

Asavari (Hindustani)—Same aroha and avaroha as

Rajarajeshvari (See Asavari).

Jeevanpuri (Hindustani)—Ni used in aroha (See

Jeevanpuri).

Dh and Ni are important vishranti sthanas. Vadi is Ma

and Samvadi Sa. This raga is sung during midnight. In this

raga uttaranga consists of Bhinnashadja and poorvanga of

Malakosh. Svaragroup म ग रि स also reminds one of raga

Rageshvari. This is a pleasing raga and deserves to be

popularised. Compositions in Rajeshwari are,

Bhora Bhayee Ghana Aye Na—Trital (Madhya)—J. D. Patki,

Aj Jage Mere Bhag—Ektal (Madhya)—J. D. Patki.

Hindustani ragas Chandrakouns, Malakauns, Bhinnashadja,

Madhuradhwani (Durga of Khamaj That) and Rageshvari have

resemblance to Rajeshvari.

Chandrakauns—Dh is Komal (See Chandrakauns).

Malakauns—All svaras are Komal (See Malakauns).

Bhinnashadja—Ga is Tivra (See Bhinnashadja).

Karnatak

There is no Karnatak raga called Rajeshvari.

Raga Kokiladeepak which is a janya of the 23rd Melakarta

Gaurimanohari has some resemblance to the raga Rajeshvari

of Hindustani sangeet. Aroha and avaroha of Kokiladeepaka

are,

स ग़ म ध नि सं—सं नि ध म ग़ रि स.

If Ri in avaroha of Kokiladeepaka is made weak or durbal

then Kokiladeepaka will resemble Rajeshvari of Hindustani

sangeet closely.

Kokiladeepaka is an interesting and pleasing raga but an

unfamiliar one.

RAJESHVARI

Hindustani

This is a rare raga which is being popularised by

Shri J. D. Patki. This raga should be put under the 23rd

Melakarta Gaurimanohari of Karnatak sangeet. There is no

That corresponding to Gaurimanohari in Hindustani sangeet.

Jati of Rajeshvari is Audava-Audava. Ri and Dh are

omitted in both aroha and avaroha. Aroha and avaroha of

Rajeshvari are,

नि स- ग़ म- म ध-नि सं—सं नि ध-म ग़-म रि स

Svaras used are Komal Ga, Suddha Ma, Tivra Dha and

Tivra Ni. Pakad or diagnostic svara groups are,

म ध नि सं नि ध ग़ म-म ग़ रि स.

RAKTAHAMS

Hindustani

This is a rare raga belonging to Kafi That (Kharaharapriya).

Type I

Its jati is Audava-Audava. Ga and Ni are omitted in

aroha. In avaroha Ga and Dh are not used. Aroha and

avaroha of this type of Raktahams are,

स-रि-म प-ध सं—सं नि-प-म-रि स.

The above aroha and avaroha have svaroops of Durga and Malhar respectively.

TYPE II

Another type of Raktahams has the following aroha and avaroha.

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

Its jati is Audava-Shadava. In aroha, as in type I, Ga and Ni are omitted. In avaroha only Ga is omitted. The second type of Raktahams has a better svaroop. Svaras used are Tivra Ri, Suddha Ma, Tivra Dha and Komal Ni. Pakad or raga vachak svara groups are, रि म प ध सं-नि ध-नि प-म रि-ध स. Vadi is Ri and Samvadi Pa. This raga is sung during midday. In this there are chayas of ragas Durga and Malhar. This is a pleasing raga. A composition in this raga is, Aye Aye Kanha--Rudrakalardha Tala of 11½ Matras.

There is no Karnatak raga called Raktahams, nor one which resembles this Hindustani raga. If Ni is not used in aroha of Devamanohari then the resulting raga will resemble Raktahams.

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

(See Devamanohari).

RAMAMANOHARI

Hindustani

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

Karnatak

Ramamanohari is a janya of the 52nd Melakarta Ramapriya (ra, gu, mi, dhi, ni). There is difference of opinion regarding the jati of this raga. Some consider it to be Sampoorna-Sampoorna while the others consider it to be Audava-Shadava. Aroha and avaroha of these two types are,

Sampoorna-Sampoorna Type,

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

Audava-Shadava Type—In aroha Ri and Dha are omitted. In avaroha Ri is not used.

स ग2 म1 प नि2 सं—सं नि2 ध2 प म2 ग2 स.

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

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

There is a vakra sanchara in aroha.

Audava-Shadava,

स ग म प नि सं—सं नि ध प ग म रि स.

Type I does not vary very much from the parent raga Ramapriya except that there is a vakra sanchara in aroha as ध नि ध सं. It is considered by some that Ramamanohari was the old name for Ramapriya. This is not a commonly heard raga. The following compositions are available.

Smaramyaham Sada Rahum (Sanskrit)—Rupaka Tala

—Muttuswamy Dikshitar.

Seeta Manohara (Telugu)—Adi Tala—Tyagaraja.

RAMAPRIYA

Hindustani

There is no Hindustani raga called Ramapriya, nor one which corresponds to or resembles this Karnatak Melakarta raga. This Melakarta is obtained by having Poorvi That for poorvang and Kafi That for uttarang as under.

Poorvi That — Kafi That

स रि ग म — प ध नि सं

Aroha and avaroha of Ramapriya will be,

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

12

RAGANIDHI

This sounds like Ahir Bhairav with Prati Ma in place of Suddha Ma (See Ahir Bhairav).

Karnatak

Ramapriya is the 52nd Melakarta (ra, gu, mi, dhi, ni). It is called Ramamanohari by Dikshitar school. This Sampoorna-Sampoorna raga has the following aroha and avaroha.

स रि₁ म₃ प ध₂ नि₃ सं—सं नि₃ ध₂ प म₂ ग₃ रि₁ स.

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

This is a fairly popular raga. The following composition is a favourite one in this raga.

Korina Vara Mosagu (Telugu)—Rupaka Tala

—Patnam Subramanya Iyer.

The Sampoorna-Sampoorna type of Ramamanohari may resemble Ramapriya. But the Audava-Shadava type is quite different in svaroop.

RAMAVATI

Hindustani

There is no Hindustani raga called Ramavati. This raga is obtained by substituting Prati Ma in place of Suddha Ma in Durga of Bilaval That.

Durga (Bilaval That)—स रि म प ध सं—सं ध प म रि स

—(See Durga)

Ramavati—स रि म᷾ प ध सं—सं ध प म᷾ रि स.

Ramavati has some resemblance to Sarasvati which is also becoming popular in the North. Aroha and avaroha of Sarasvati are,

स-रि म᷾ प-नि ध प-नि सं—सं रि नि-ध प म᷾-रि स-रि स

RAMDASI MALHAR

Hindustani

Ramdasi Malhar belongs to Kafi That (Kharaharapriya). There are four types of Ramdasi Malhar described by different authors. Ramdasi Malhar is said to have been composed by the famous musician Ramdas Naik of Gwalior whose name is mentioned in Aini Akbari.

TYPE I

Jati is Sampoorna-Sampoorna. Aroha and avaroha of this type are,

स रि प-ग म-प ध नि सं or प ध नि सं—

सं ध नि प-ध प म ग म-प ग ग म रि स॥

13

RAMDASI MALHAR

In Sarasvati Ni is used in both aroha and avaroha. In Ramavati Ni is not used at all (See Sarasvati).

Karnatak

Ramavati is not mentioned in many books on Karnatak Music. As this raga sounds like Sarasvati with Ni omitted it can be included among janya ragas of the 64 Melakarta Vachaspatı (ri, gu, roi, dhi, ni). Jati of this raga is Audava-Audava. Ga and Ni are not used. Aroha and avaroha are,

स रि₂ म₂ प ध₂ सं—सं ध₂ प म₂ रि₂ स

Svaras used are Chatusruti Ri, Prati Ma and Chatusruti Dha. According to Hindustani notation the aroha and avaroha are,

स रि म प ध सं—सं ध प म रि स

Karnatak raga Sarasvati resembles Ramavati. Its aroha and avaroha are,

स रि म प ध सं—सं नि ध प म रि स (See Sarasvati).

Ramavati is the Pratimadhyama counterpart of the Suddha Madhyama raga Suddha Saverı See (Suddha Saverı).

14

RAGANIDHI

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

Both Komal and Tivra Ni are used side by side in aroha and also separately. In avaroha only Komal Ni is used.

Komal Ga is used only in avaroha at the end. Tivra Ga is used in aroha and also shown in avaroha.

In avaroha svara group रि प म ग is uttered quickly and produces a particular effect which is characteristic of Ramdasi Malhar. Tivra Ga is kept prominent as रि प ग म - म प ग म.

Vadi is Ma and Samvadi Sa. Sangatis म रि and रि प are used. A composition in this type of Ramdasi Malhar is,

Terohi Chela More Karata–Ada Choutal (Vilambit). Sakala Banahu Laye–Ektal (Vilambit).

TYPE II

Jati of this type is Sampoorna–Shadava. In avaroha Dh is not used. Aroha and avaroha of this type of Ramdasi Malhar are,

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

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

In aroha only Tivra Ga is used. In avaroha only Komal Ga is used. In aroha both Komal and Tivra Ni are used side by side or separately. In avaroha only Komal Ni is used. Use of Tivra Ga is kept prominent as रि प ग म - म प ग म. Sangatis रि प and म रि are used. Vadi is Ma and Samvadi Sa. A composition in this type of Ramdasi Malhar is,

Ye So Khelana Na Doongi–Dhamar (Vilambit).

TYPE III

Jati of this type of Ramdasi Malhar is Shadava–Shadava. Ga is omitted in both aroha and avaroha. Aroha and avaroha of this type are,

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

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Both Komal and Tivra Ni are used in aroha and avaroha. But they are not used side by side as in the first two types. Vadi is Ma and Samvadi Sa. Sangatis रि प and म रि are used.

Ramdasi Malhar (all types) are allied to other types of Malhars like Mia Malhar etc. (See other Malhars).

Karnatak

There is no Karnatak raga called Ramdasi Malhar, nor one which is allied to Ramdasi Malhar of Hindustani sangeet.

15

RAMKALI

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

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

TYPE IV

Jati of this type is Shadava–Shadava. In aroha Ga is not used. Aroha and avaroha of this type are,

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

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Both Komal and Tivra Ni are used in aroha and avaroha. But they are not used side by side as in the first two types. Vadi is Ma and Samvadi Sa. Sangatis रि प and म रि are used.

RAMKALI

Hindustani

Ramkali belongs to Bhairav That (Mayamalavagaula). There are three types of Ramkali.

TYPE I

In this type Ri and Ni are omitted in aroha. Its jati is Audava–Sampoorna. Aroha and avaroha are,

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

16

RAGANIDHI

TYPE II

This type is of Shadava-Sampoornajati. In aroha Ri is omittcd. Aroha and avaroha are,

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

This is a popular type.

TYPE III

Jati of this type is Sampoorna-Sampoorna. Aroha and avaroha are,

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

In all the three types svaras used are Komal Ri, Tivra Ga, Suddha Ma and Prati Ma, Komal Dh and Tivra Ni. In avaroha sometimes a touch of Komal Ni as ध नि ध प is given.

Tivra Ma is used only in avaroha as सं प ध नि ध प. This is a feature of Ramkali. There is difference of opinion regarding the Vadi and Samvadi combinations. The following combinations are suggested,

Pa - Ri, Sa - Pa, Dh - Ga, and Pa - Sa.

Pakad or diagnostic svara groups are chiefly found in the avaroha. They are,

ध प - मं प - ध नि ध प - प न - म - म हि स.

Ramkali is a morning raga. This is sung with Bhairav ang. To keep clear of Bhairav the following precautions are taken.

Svara group म ग रि स is not used. म ग रि स or म ग - रि रि स is used without meend. Slight use of Tivra Ma as मं प - ध नि ध प is frequently used. Sometimes slight touch of Komal Ni is made as सं प - ध नि ध प. When halt is made on Pa, a kan or a grace note of Prati Ma is given as मं प. Some musicians use both Ga in avaroha as ग म - प ध - नि - स. This gives a touch of Hamsakankini to Ramkali. It is advisable to use only Tivra Ga.

RAMKALI TODI

17

Ramkali is a very popular raga. Compositions in this raga are,

Manchariya Mendi—Tilwada (Vilambit).

Sakhi Meri Manaki—Teen Tal (Drut).

Hindustani raga Bhairav is allied to Ramkali.

Bhairav—Tivra Ma is not frequently used although a very occasional touch of Tivra Ma is excused and relished.

Svara group म ग रि स is used with meend. Komal Ni is not used. (See Bhairav)

Karnatak

There is a Karnatak raga called Ramkali which is a janya of the 15th Melakarta Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Hindustani Bhairav That. Its jati is Audava-Sampoorn. Ma and Ni are omitted in aroha. Svaras used are Suddha Ri, Antara Ga, Suddha Ma, Suddha Dh and Kakali Ni. Aroha and avaroha of Ramkali of South are,

स रि₁ ग प ध सं - सं नि₂ ध₁ प म ग रि₁ स.

According to Hindustani notation they are,

स रि ग प ध सं - सं नि ध प म ग रि स.

This sounds like a combination of Hindustani ragas Bibhas in aroha and Bhairav in avaroha. This is an interesting raga no doubt but it has no resemblance to raga Ramkali of Hindustani sangeet.

Ramkali is a rare raga. A composition in this raga is,

Rama Rama Kali Kalusha Virama (Sanskrit)—Rupaka Tala

—Subbarama Dikshitar.

RAMKALI TODI

Hindustani

Ramkali Todi is a combination of the two popular morning ragas Ramkali and Todi. Chief anga of Ramkali which differentiates it from Bhairav is the svara group सं प ध नि ध प with

18

RAGANIDHI

Prati Ma and Komal Ni which are not used in Bhairav. This Ramkali anga is introduced into Todi. In Todi, Komal Ni is not used.

Chalan of Ramkali Todi is,

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

स - ध प - स - ग - रि - स - नि ध प - भ - प - व रि - न ति - स

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

This is a morning raga. Compositions in this rare raga are, Khwaja Bande Na Baja Tuma Ho—Ek Tal (Vilambit) —Gulam Rasul. Khwaja Bande Na Baja Sabke—Tri Tal—Gulam Rasul.

Karnatak

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

RAMYAMUKHI

Hindustani

There is no Hindustani raga called Ramyamukhi. Raga Malakosh corresponds to the Karnatak raga Ramyamukhi. Malakosh has the following aroha and avaroha.

स ग म ध नि सं - स नि ध म ग स

(See Malakosh)

In Karnatak, Ramyamukhi is at present known as Hindola. (See Hindola)

Karnatak

Ramyamukhi is derived from the 20th Melakarta Nata-bhairavi (ri, gi, ma, dha, ni) which corresponds to Asavari That of Hindustani. Jati of Ramyamukhi is Audava-Audava. Ri and Pa are not used. Aroha and avaroha of Ramyamukhi are,

स रि2 म1 ध1 नि3 सं - सं नि3 ध1 म1 ग2 रि2 स

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

19

RANJANI

स ग म ध नि सं - सं नि ध म ग स

Svaras used in Ramyamukhi are the same as those in the raga Hindola. Regarding Hindola there has been a lot of controversy regarding the kind of Dh to be used. Some still think that Chaturasruti Dh should be used. The Kriti "Manasuloni Marmamu" in Hindola is sung by some with Chaturasruti Dh.

Ramyamukhi at present is called Hindola. Instead of having two kinds of Hindola, one with Suddha Dh and the other with Chaturasruti Dh, it seems reasonable to retain the name of Ramyamukhi for the present day Hindola with Suddha Dh and call the one with Chaturasruti Dh as Hindola.

RANJANI

Hindustani

This raga is also called Ragaranjani. It has been composed by Shri Baburao Kaslikar.

Ragaranjani belongs to Kafi That (Kharaharapriya). Its jati is Audava-Sampoorna. Ri and Pa are omitted in aroha. Aroha and avaroha of Ragaranjani are,

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

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

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

Vadi is Ma. Samvadi is Sa. This raga is sung in the second prahara of night. Ragaranjani is sung with Kafi and Khamaj angas.

Tivra Ga and Tivra Ni are used in aroha. In avaroha both Komal and Tivra Ga are used. Only Komal Ni is used in avaroha. This is an unfamiliar raga. A composition in raga Ranjani or Ragaranjani is, More Piyarava Ajahu Na Aye—Tri Tal (Madhya).

Karnatak

Karnatak raga Ranjani has no resemblance to the Hindustani raga Ranjani or Ragaranjani described above.

Ranjani of Karnatak sangeet has become popular during the last twenty years only. It belongs to the 59th Melakarta Dharmavati (ri, gi, mi, dhi, nu). Aroha and avaroha of this Audava-Audava raga are,

स ri2 म2 ध2 सं—सं नि2 ध2 म2 ग2 स.

Pa and Ni are omitted in aroha. In avaroha Pa and Ri are omitted. Svaras used are Chaturasruti Ri, Sadharana Ga, Prati Ma, Chaturasruti Db and Kakali Ni. Acccording to Hindustani notation, the aroha and avaroha are,

स ri गू मं ध सं—सं नि ध मं गृ स.

This is a pleasing raga and is introduced while singing Ragamalika Shlokas. A popular composition in this raga is, Durmarga Charadhamula (Telugu)—Rupaka Tala—Tyagaraja

RANJANKAUNS

Hindustani

Like many other ragas whose names end with “Kauns”, Ranjankauns is also a modified form of Malakauns. In this raga both Komal and Tivra Dh are used. Other svaras are those found in Malakauns. Its jati is Audava-Audava. Ri and Pa are not used. Aroha and avaroha are,

स - गू म - ध - नि सं—सं नि घ - नि धू म - गृ स

Svaras used are Komal Ga, Suddha Ma, both Komal and Tivra Dh and Komal Ni. Tivra Dh is used in aroha. In avaroha both Tivra and Komal Dh are used. Svara groups स ध नि सं with Tivra Dh and सं नि धू म with both Tivra and Komal Dh have to be carefully used to give this raga its individuality.

Compositions in this new raga are, Peera Mitata Nahi—Ek Tal (Vilambit)—Radhamohan Bandopadhyaya. Kaise Mai Hari Darasan—Tri Tal (Madhya)—Radhamohan Bandopadhyaya.

Allied Hindustani ragas are Malakauns, Chandrakauns, Nabhkauns etc.

There is no Karnatak raga called Ranjankauns. There are two types of Karnatak raga Hindola. One type which is popular corresponds to Hindustani Malakauns. In the second type of Hindola Chaturasruti Dh is used (Tivra Dh) in both aroha and avaroha. Ranjankauns is obtained by combining these two types of Hindola of South with Chaturasruti Dh in aroha and Suddha Dh in avaroha (See Hindola).

RASACHANDRA

Hindustani

This is a rare raga. Except Prati Ma which is also used, the other svaras are all Suddha svaras. Jati of this raga is Audava-Audava. Pa and Ni are omitted in both aroha and avaroha. Ri although not absent is weak or “durbal” in aroha. Aroha and avaroha of Rasachandra are,

स ri ग - म म - ध सं—सं ध - म म - ग म ri स.

Pakad or Gunjan svara groups are,

म ध म सं ध म - न S म ग म - म म - ग म ri ड स.

In this raga both Madhyams are used side by side as in raga Lalit. In avaroha vakra sancharas, म म ri S स - ग म ri ड स - or म ri S स are used.

Vadi is Ma and Samvadi Sa. Chief svara in this raga is the Vadi svara Komal Ma, and Ga is an important halting svara. This raga is sung with Bilaval anga. Bilaval anga is seen in the following groups of svaras.

स ri S स - स ri ग - स ri स न - म ग - म न ग - म ri - म ri S स.

The following svara groups are frequently used.

म ध म सं ध म S म ग S म सं न - ध म सं म.

In this raga meend should be given wherever possible. Compositions in Rasachandra raga are, Jako Dhyavata Sura Muni—Ek Tal (Vilambit)—S. A. Mahadkar. Naina Chalave Kisana Murari—Teen Tal (Drut)—J. D. Patki.

22 RAGANIDHI

Hindustani raga Lalit has some resemblance to Rasachandra. Lalit-Ri is Komal. Some use Komal Dh. म लि रि स is used and not त रि स (See Lalit).

Karnatak

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

RASADEEP

Hindustani

Late, Pandit Shankar Rao Vyas popularised this rare raga. This raga is obtained by creating a chaya of raga Piloo in the raga Patadeep. This is done by elongating the Komal Ga and Tivra Ni which are used in Rasadeep in Poorvanga as under,

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

Vadi is Ga and Samvadi Ni. A composition in this raga is, Nayana Basi Moorata—Trital (Madhya)—Shankar Rao Vyas.

Karnatak

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

RASALI or RASAVALI

Hindustani

There is no Hindustani raga called Rasali or Rasavali nor one which corresponds to or is closely allied to Rasali or Rasavali of Karnatak sangeet. This is an interesting raga and also a pleasing one. It can come under a group of ragas consisting of Ahir and Ahir Bhairav. Aroha and avaroha of Rasali are,

स रि म प ध नि सं - सं ध प म रि स.

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

23 RASARAJ

Karnatak

Rasali or Rasavali belongs to the 4th Melakarta Vanaspati (ra, ga, ma, dhi, ni). Its jati is Shadava-Audava. Ga is omitted in aroha. In avaroha Ni and Ga are not used. Aroha and avaroha of raga Rasali are,

स रि म प ध नि सं - सं ध प म रि स.

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

स रि ड म प ध नि सं - सं ध प म रि ड स.

Ri is elongated and svara group सं रि ड in Tara sthayee is very pleasing.

This is not a popular raga. It is no doubt a pleasing one and deserves to be popularised. The following composition is aometimes heard.

Aparadhamulu Norwa (Telugu)—Adi Tala—Tyagaraja.

RASARAJ

Hindustani

This raga has been composed by Shri Padmakar Barve. It is a combination of two morning ragas Desi and Alaiyya Bilaval. Angas of these two are found in Rasaraj. Aroha and avaroha of ragas Desi and Alaiyya Bilaval are,

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

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

Chalan of Rasaraj is as under,

स - नि रि -च - रि प -ग़ - ध नि रि - नि रि स रि - ग - म रि - स-ति रे स.

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

Svaras used in the above chalan of raga Rasaraj are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Vadi is Sa and Samvadi Pa. This raga is sung during the second prahara of the day. A composition in this raga is,

Kanhaiyya Mora Nadan–Jhap Tal (Vilambit)–Padmakar Barve.

Karnatak

There is no Karnatak raga called Rasaraj nor one which resembles Rasaraj of Hindustani sangeet.

RASARANJANI

Hindustani

This rare raga belongs to Bilaval That (Dheerasankarabharana). Its jati is Audava-Audava. Ga and Ri are omitted. Aroha and avaroha of Rasaranjani are,

स -ति -म -धS निSं–सं नि -घS म -धम तिS स.

Svaras used are all Suddha svaras of Hindustani sangeet. Pakad or “raga vachak” svara groups are,

स धS निSं–नि धS -ति S स.

Vadi is Ma and samvadi Sa. This raga is sung during the last prahara of night.

Svara groups स -ति मS -सं नि -घS म and धS म रिS are very pleasing. This is a pleasing raga and deserves to be popularised.

Compositions in Rasaranjani are,

Balama Na Javo Ghar–Tri Tal (Madhya)–J. D. Patki. Shubha Karma Karo Re Mana–Jhap Tal (Madhya)

—S. A. Mahadkar.

Hindustani ragas Bhavani and Jaya Bhavani have some resemblance to Rasaranjini.

Bhavani–Ni is not used (See Bhavani). Jaya Bhavani–Svara group ध ति रि is prominent. Ni is Komal (See Jaya Bhavani).

RASIKAPRIYA

Karnatak

There is no Karnatak raga called Rasaranjani, nor one which resembles this Hindustani raga. This can be introduced as a janya of Melakarta Dheerasankarabharana.

RASIA

Hindustani

We owe this raga to the well known Sitarist Pandit Ravi Shankar. It is a mixture of Pahadi and Yaman ragas. Aroha and avaroha of Rasia are,

स -न -प -ध -नि -सें–सं -नि -ध -प -म -न -ति -स

Excepting Ma which is Tivra Ma (Prati Ma) all other svaras are Suddha svaras of Hindustani. Chalan of this raga is as under.

नि -सं ध-प-नि ध1-नि प -न रि -स ति -गS । म-प -ध सं-रि ग म-रि सं-ध ग -प -नि -स ॥

Halt on Ga as in स रि ग sounds beautiful. This raga is not yet popular among vocalists.

Karnatak

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

RASIKAPRIYA

Hindustani

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

Karnatak

Rasikapriya is the 72nd Melakarta (ru, gu, mi, dhu, nu). According to Dikshitar school this Melakarta is called Rasamanjari. This is a Sampoorna-Sampoorna raga. Its aroha and avaroha are,

स रि3 ग3 म2 प ध3 नि3 सें–सं नि3 ध3 प म2 ग3 रि3 स.

Svaras used are Shatsruti Ri, Antara Ga, Prati Ma, Shatsruti Dh and Kakali Ni. According to Hindustani notation they are,

स ग म प ध नि सं — सं नि ध प म ग रि स.

In the above Komal Ni (नि) represents Shatsruti Dh and Komal Ga (ग) represents Shatsruti Ri of Karnatak sangeet. This is not a popular raga. The following compositions are available.

Arul Shaiyya (Tamil)—Adi Tala—Kotishwara Iyer. Pavana Tanaya Palaya Mam (Sanskrit)—Jhampa Tala —Balamuralikrishna.

RATIPATIPRIYA

Hindustani

There is no Hindustani raga called Ratipatipriya. It sounds like a combination of Shivaranjini and Dhani ragas. Poorvanga sounds like Shivaranjini and uttaranga like Dhani. Svaroo ps of Shivaranjini and Dhani ragas are as under,

Shivaranjini—स रि ग प ध सं — सं ध प ग रि स. Dhani—स ग म प निसं — सं निप म ग स.

Ratipatipriya has the following aroha and avaroha,

स रि ग प निसं — सं निप ग रि स.

It is a pleasing raga and can be introduced among ragas of Kafi That.

Karnatak

Ratipatipriya is a janya of 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani sangeet. Its jati is Audava-Audava. Ma and Dh are not used in this raga. Aroha and avaroha of this raga are,

स रि2 प निसं — सं निप2 रि2 ध.

Svaras used are Chatsruti Ri, Sadharana Ga, and Kaisiki Ni. According to Hindustani notation the above aroha and avaroha are,

स रि ग निसं — सं निप ग रि स.

This raga although a pleasing one is not a popular one. A composition in this raga is,

Adbhutamahiya (Tamil)—Shuddhananda Bharati.

A raga introduced some thirty years back by Shri Mysore Venkatagiriyappa under the name Sharadapriya has the same svaras in both aroha and avaroha as Ratipatipriya (See Sharadapriya).

Allied Karnatak raga is Pushpalatika. Pushpalatika—Ma is used in both aroha and avaroha. (See Pushpalatika).

RATIPRIYA or RISHABHAPRIYA

Hindustani

There is no Hindustani raga called Ratipriya. Ratipriya or Rishabhapriya Melakarta of South is a combination of Kalyan and Asavari Thats in poorvanga and uttaranga respectively as under.

स रि ग म — प धु निसं — सं निधप — म ग रि स.

Karnatak

Ratipriya is the Dikshitars school name for the 62nd Melakarta Rishabhapriya (ri, gu, mi, dha, ni).

Its jati is Sampoorna-Sampootna. Aroha and avaroha are,

स रि2 ग2 म प ध1 निसं — सं निध1 प म2 ग2 रि2 स

Svaras used are Chatsruti Ri, Antara Ga, Prati Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation they are,

स रि ग म प धु निसं — सं निध प म ग रि स.

A composition in Ratipriya is, Marutipriyam Bhaktapriyam (Sanskrit)—Adi Tala —Muttuswamy Dikshitar.

28

RAGANIDHI

RATNABHANU

Hindustani

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

Karnatak

Ratnabhanu is derived from the 62nd Melakarta Rishabha-priya (ri, gu, mi, dha, ni). Its jati is Shadava-Sampoorna. In aroha Ga is not used. Aroha and avaroha of Ratnabhanu are,

स ri2 म2 प नि2 ध नि2 सं - सं नि2 ध प म2 ग ri2 स

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

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

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

Brovavela Yapudu (Telugu)—Adi Tala—Tiruvottiyur Tyagaraja.

RATNADEEP

Hindustani

This rare raga belongs to Marwa That (Gamanashrama). Its jati is Audava-Shadava. In aroha Ri and Dh are not used. In avaroha Ni is omitted. Aroha and avaroha are,

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

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Tivra Dh and Tivra Ni. Vadi is Sa and Samvadi Pa. Halt on Ma as ग म S - प नि प म S gives dignity to this raga. Pakad or diagnostic svara groups are,

नि स - ग म S - प नि प म S - ग ri स.

There is chaya of Jetashree in this raga. In Jetashree Ni is used in avaroha. This is an evening raga. A composition in this raga is,

RATNAJYOTI

Hindustani

Ratnajyoti belongs to Khamaj That (Harikamboji). Its jati is Audava-Audava. In aroha Ri and Dh are not used. In avaroha Ma and Pa are omitted. Aroha and avaroha are,

नि स - ग म - प नि सं - सं ध - ग नि स

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Tivra Ni is used in aroha and Komal Ni in avaroha. Vadi and Samvadi are Ga and Ni respectively. This raga has Shringara rasa. It is sung during second prahara of night. A composition in this newly introduced raga is,

Kaise Javoo Piyarava Sang—Tri Tal—Yeshavant D. Bhatt.

In aroha there is chaya of Tilang mostly. Care has to be taken not to stray away into that raga. Avaroha has Rageshree chaya.

Karnatak

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

29

RATNAJYOTI

30

RAGANIDHI

RATNAKANTI

Hindustani

There is no Hindustani raga called Ratnakanti. If Tivra Ma is introduced in raga Hamsadhvani in both aroha and avaroha then raga Ratnakanti results (See Hamsadhvani). Aroha and avaroha of Ratnakanti are,

स ri गं pa नि सं—सं नि पं मं ग ri स.

Hindustani raga Malashree resembles Ratnakanti. In Malashree Ri is not used (See Malashree). Another Hindustani raga which resembles Ratnakanti is Hamsa Kalyan having the following sancharā,

स ri ग प नि सं—सं नि ध प मं ग ri स.

In aroha Ma and Dh are not used (See Hamsa Kalyān).

Karnatak

Ratnakanti is derived from the 63ʳᵈ M. K. Latangi (ri, gu, mi, dha, nu). Jati of this is Shadava-Shadava. Dh is omitted in both aroha and avaroha. Aroha and avaroha of Ratnakanti are,

स ri₂ ग₂ म₂ प नि₃ सं—सं नि₃ प म₂ ग₂ ri₂ स.

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

स ri ग प नि सं—सं नि प ग ri म ग ri स.

If Prati Ma is introduced in both aroha and avaroha of raga Hamsadhvani then Ratnakanti is obtained (See Hamsadhvani).

Ratnakanti is not a popular raga but a pleasing one. The following composition in this raga is available.

Shreenathananu Chirabilichi (Telugu)—Adi Tala

—Tiruvottiyur Tyagaraja.

Karnatak ragas Hamsadhvani and one popular type of Amritavarshini resemble Ratnakanti.

Hamsadhvani--Ma is not used in either aroha and avaroha (See Hamsadhvani).

Amritavarshini--Ri is not used (See Amritavarshini).

31

RATNAVARALI or RATNAVARI

RATNANGI

Hindustani

There is no Hindustani raga called Ratnangi, nor one which resembles this Karnatak raga. Its uttaranga resembles Hindustani Bhairavi.

Karnatak

Ratnangi is 2ⁿᵈ Melakarta (ra, ga, ma, dha, ni). Its old name is Phenadyuti. It is a Sampoorna-Sampoorna raga. Aroha and avaroha of Ratnangi are,

स ri₁ ग₁ म₁ प ध₁ नि₃ सं—सं नि₃ ध₁ प म₁ ग₁ ri₁ स.

Svaras used are Suddha Ri, Suddha Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation they are,

स ri म प ध नि सं—सं नि ध प म ri हि स.

Tivra Ri (री) represents Suddha Ga (ग₁) of Karnatak system. Compositions in this raga are,

Janani Ashrita (Sanskrit)—Rupaka Tala--Muthiah Bhagavathar.

Shri Gurum Chintayamyaham (Sanskrit)—Rupaka Tala

—Balamuralikrishna.

Hindustani

There is no Hindustani raga called Ratnavarali or Ratnavari, nor one which resembles this newly invented Karnatak raga. There is chaya of Bairagi Bhairav in the svara groups स ri म प नि and सं नि प म ri (See Bairagi Bhairav).

Karnatak

Ratnavarali or Ratnavari has been invented by Shri C. Rangiah. It is a janya of the 2ⁿᵈ Melakarta Ratnangi (ra, ga, ma, dha, ni). Its jati is Shadava-Shadava. In aroha Ga is not used and in avaroha Dh is dropped. There are vakra sancharas in both aroha and avaroha. Its aroha and avaroha are,

स ri₁ म₁ प नि₂ ध₁ सं—सं नि₂ प म₁ ri₁ ग₁ ri₁ स.

Svaras used are Suddha Ri, Suddha Ga, Suddha Ma, Suddha Dh and Kaisiki Ni. According to Hindustani notation they are,

स रि म प ध नि धु सं - सं नि प म रि धि स

In the above Tivra Ri (ri) represents Suddha Ga of Karnatak sangeet.

This is a new raga and has to gain popularity. A composition in this raga is,

Himadri Tanaye Pahi (Sanskrit)—Adi Tala—C. Rangiah. In this raga there is chaya of Revati or Bairagi Bhairav (See Revati).

RAVICHANDRIKA

Hindustani

Ravichandrika of Hindustani sangeet is a rare raga belonging to Khamaj That (Harikamboji). Its jati is Sampoorna-Shadava. In avaroha Pa is not used. Aroha and avaroha are,

स रि ग म प ध नि सं—सं नि ध म ग रि स

Its aroha is Khamaj and avaroha Rageshree. Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. In aroha Komal Ni is used and in avaroha Tivra Ni.

Rageshree of Hindustani resembles Ravichandrika of Karnatak very closely. Aroha and avaroha of Rageshree or Rageshvari are,

स ग म ध नि सं—सं नि ध म ग - रि स

(See Rageshree).

Karnatak

Ravichandrika is a janya of the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Its jati is Shadava-Shadava. Pa is omitted. Aroha and avaroha are,

स रि2 ग म1 ध2 नि2 सं—सं नि2 ध2 म ग1 रि2 स

Svaras used are Chatuaruti Ri, Antara Ga, Suddha Ma, Chaturasruti Dh and Kaisiki Ni. There is a vakra sanchara ध नि घु सं in aroha. According to Hindustani notation the aroha and avaroha are,

स रि ग म ध नि घु सं—सं नि घ म ग रि स

Ravichandrika is a popular raga. The following composition is a favourite one.

Makelara Vicharamu (Telugu)—Adi Tala—Tyagaraja.

Karnatak ragas Natakuranji, Hamsavinodini, and Nata-narayani are allied to Ravichandrika.

Natakuranji—Pa is used in some types (See Natakuranji). Hamsavinodini—Kakati Ni is used (See Hamsavinodini). Natanarayani—Pa is used in avaroha (See Natanarayani).

RAVIKRIYA

Hindustani

There is no raga called Ravikriya in Hindustani sangeet, nor one which resembles this Karnatak raga.

Karnatak

Ravikriya is the old name for the 42nd Melakarta Raghu-priya (ra, ga, mi, dhu, nu). Janya raga Ravikriya is derived from the above Melakarta. Its jati is Sampoorna-Shadava. In avaroha Dh is omitted. In aroha there is a vakra sanchara. Aroha and avaroha of Ravikriya are,

स ग1 रि1 ग1 म2 प ध2 नि2 सं—सं नि3 प म2 ग1 रि1 स.

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

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

In above, Tivra Ri represents Suddha Ga (ग1) and Komal Ni represents Shatsruti Dh (ध2) of Karnatak system. A composition in this raga is,

Himagiri Kumari (Sanskrit)—Adi Tala—Muttuswamy Dikshitar.

34

RAGANIDHI

RAYASA KANADA

Hindustani

This is a rare raga. It is a mixture of Kanada and Dhani

ragas. Dhani anga is found in aroha and Kanada anga in

avaroba. Its jati is Audava-Shadava. Ri and Dh are omitted

in aroha. In avaroha Dh is omitted. Aroha and avaroha of

Rayasa Kanada are,

स - ग - म प - नि प - सं सं - नि रिं सं सं - सं से - नि म प - ग गू -

म दि स.

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

Komal Ni. Vadi is Sa and Samvadi Pa. Svara groups

नि प सं - नि म प - गू ग - म दि स - नि रिं सं सं

sound beautiful in

this raga. A composition in this raga is,

Sakhi Mora Shyamo—Jhap Tal (Madhya).

Hindustani raga Suha Kanada has great resemblance to

Rayasa Kanada. It is very difficult to differentiate between

them. In Rayasa Kanada the Dhani anga should be given

prominence to.

Suha or Suha Kanada—नि प सं is not used. म प सं is used.

नि म प is not used. नि म ग is used (See Suha Kanada).

Dhani—नि प सं is not used. प नि सं is used. ग म रि स is not

used. रि ग म is used. In pure Dhani Ri is not used.

(See Dhani).

Karnatak

There is no raga called Rayasa Kanada in Karnatak sangeet,

nor one which resembles Rayasa Kanada of Hindustani sangeet.

REWA

Hindustani

There are two types of raga Rewa. One is sung with Poorvi

Ang and the other with Shree Ang.

35

Rewa (Poorvi Ang)

Rewa with Poorvi Ang belongs to Poorvi That (Kamavar-

dhini). Its jati is Audava-Audava. Ni and Ma are omitted.

Aroha and avaroha are,

स रि - ग प - ध सं - से धू - प ग - प ग - प म रि स.

Svaras used are Komal Ri, Tivra Ga and Komal Dh. Pakad

or diagnostic svara groups are,

प ग - प धू प ग - रि ग - रि स - ग रि ग स.

Vadi is Ga and Samvadi Dh. This is an evening raga.

Halt on Ga frequently creates an evening raga effect. Svara

groups which are used to create an evening effect are as under.

रिं ग - स रि ग प - ग रि ग प ग म - प धू ग - धू ग - रिं ग -

प रिं ग - रिं धि स रिं - धि प ग़ प etc.

The following details should be remembered.

1. Halt should not be made on Dh as that will create a

morning effect.

2. Sa should be elongated and not Pa. Elongation of Pa

creates a morning effect, while elongation of Sa creates an

evening effect.

3. This is a Poorvanga raga. Sanchara should be more in

mandra saptak.

This raga is considered to be an evening "jawab" of the

morning raga Bibhas. They stand in the same relationship as

Bhoop and Deshkar. Prakriti of this raga is "gambhira". A

composition in this raga is,

Sanja Same Sukhakara—Sultal (Madhya).

Hindustani raga Bibhas (Bhairav That) and Rewa with

Shree Ang closely resemble Rewa with Poorvi Ang.

Bibhas (Bhairav That)—Vadi is Dh and Samvadi Ga. Pa is

kept prominent. Sangati नि q is frequently used. (See Bibhas

—Bhairav That).

Rewa (Shree Ang)—Vadi is Ri and Samvadi Pa. Use of

double Ri as in Shree is employed (See Rewa with Shree Ang).

36

RAGANIDHI

Rewa (Shree Ang)

Rewa with Shree Ang also belongs to Poorvi That (Kamavardhini). Its jati is Audava-Audava. Svaras which are omitted are Ma and Ni as in Rewa with Poorvi Ang. Aroha and avaroha of this type of Rewa are,

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

Svaras used are Komal Ri, Tivra Ga, and Komal Dh. Pakad or Gunjan svara groups are,

ग रि - प ग रि - ध स - ध प - स.

Vadi is Ri and Samvadi Pa. This is an evening raga. It is a poorvanga raga. In order to give it the Shree Anga use of double Ri as ग ri ri in Shree raga is employed. A composition in Rewa with Shree Ang is,

Logawa Charcha Kare-Tri Tal (Madhya)-S. N. Ratanjankar.

Hindustani ragas Rewa with Poorvi Ang and Bibhas of Bhairav That resemble Rewa with Shree Ang.

Rewa (Poorvi Ang)-Ga is kept prominent. Sa is elongated. Double Ri as ri ri not used (See Rewa Poorvi That).

Bibhas (Bhairav That)-Vadi is Dh and Samvadi Ga. Pa is kept prominent. Sangati ग q is used. Double Ri as ri ri (See Bibhas-Bhairav That).

Karnatak

There is no raga called only Rewa. There is a raga called Rewagupti having resemblance to ragas Rewa and Bibhas (Bhairav That) of Hindustani sangeet. Aroha and avaroha of Rewagupti are,

स रि ग प ध सं - सं ध प ग रि स (See Rewagupti).

REWAGUPTI

Hindustani

There is no Hindustani raga called Rewagupti. Hindustani ragas Rewa with Poorvi and Shree angas resemble the Karnatak

37

REWATI

raga Rewagupti in the svaras used in aroha and avaroha (See Rewa). Another Hindustani raga which resembles the Karnatak raga Rewagupti is Bibhas belonging to Bhairav That (See Bibhas).

Karnatak

Rewagupti is a janya of the 15th Melakarta, Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That of Hindustani. Jati of Rewagupti is Audava-Audava. Ma and Ni are omitted in this raga. Aroha and avaroha of Rewagupti are,

स रि, ग, प ध, सं --सं ध प ग रि स.

Svaras used are Suddha Ri, Antara Ga, and Suddha Dh. According to Hindustani notation they are,

स रि त9 ध सं -- सं ध प ग रि स.

These svaras correspond to those of the two types of Rewa of Hindustani sangeet. The Hindustani raga Bibhas also uses the some notes. (See Rewa and Bibhas).

Rewagupti is a morning raga. Compositions in this raga are,

Griha Bala Memi (Telugu)-Adi Tala-Tyagaraja.

Sada Vinatu Sadare (Sanskrit)-Rupaka Tala

--Muttuswamy Dikshitar.

Karnatak ragas Bhauli and Bhoopalam are allied to Rewagupti.

Bhauli-Ni is used in avaroha (See Bhauli).

Bhoopalam--Sadharana Ga (Komal Ga) is used (See Bhoopalam).

REWATI

Hindustani

This raga is also called Rewati Kanada. It belongs to Kafi That (Kharaharapriya). Its jati is Audava-Sampoorna. Ga and Ni are omitted in aroha. Aroha and avaroha of Rewati Kanada are,

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

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

रि म प ध म प - सं ध नि प - म प तुड़ म - ति ड स।

Vadi svara is Pa and Samvadi Sa. This raga is sung in the morning. In this raga there are chhayas of the ragas Durga, Desi, Subha Kanada, Nayaki Kanada and Shahana Kanada. This raga should be rendered with gamaks.

Compositions in this raga are,

Bhaja Lc Re Mana—Ek Tal (Vilambit)

—Mathura Prasad “Rasik”.

Bhatakata Hari Mana—Tri Tal (Madhya)

—Mathura Prasad “Rasik”.

Karnatak

Karnatak raga Rewati has no resemblance to the Hindustani raga Rewati or Rewati Kanada. It has great resemblance to the Hindustani raga Bairagi Bhairav which is also a recent introduction into Hindustani sangeet (See Bairagi Bhairav). Aroha and avaroha of Bairagi Bhairav are,

स रि म प नि सं - सं नि प म रि स।

Karnatak raga Rewati is a janya of the 2nd Melakarta Ratnangi (ra, ga, ma, dha, ni). Its jati is Audava-Audava. Ga and Dh are omitted. Aroha and avaroha are,

स रि1 ड म1 प नि3 सं - सं नि2 स प म1 रि1 स।

Svaras used are Suddha Ri, Suddha Ma and Kaisiki Ni. According to Hindustani notation they are,

स रि ड म प नि ड सं - सं नि ड प म रि ड स

Ri and Ni are the jeeva svaras. Elongations of these svaras give Rewati a Shoka rasa. Svara groups म प नि सं - प म रि स create the impression of a women in distress with her disthevalled hair crying in despair. A composition in this raga is,

Jagannatha Anatharakshaka (Kanarese)—Adi Tala

—B. Subba Rao.

RISHABHAPRIYA

Hindustani

There is no raga called Rishabhapriya in Hindustani sangeet. This Melakarta raga of Karnatak system is obtained by having Kalyan for poorvang and Bhairavi for uttarang. Rishabhapriya has the following aroha and avaroha.

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

Karnatak

Rishabhapriya is the 62nd Melakarta of Karnatak sangeet (ri, gu, mi, dha, ni). Its old name is Ratipriya. Aroha and avaroha of this Sampoorna-Sampoorna raga are,

स रि2 ग3 म2 प ध2 नि3 सं - सं नि3 ध1 प म2 ग3 रि3 स।

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

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

Rishabhapriya is a difficult raga. Its poorvanga consists of Kalyani and uttaranga of Todi of Karnatak sangeet. This is not a popular raga. The following compositions in this raga are sometimes heard.

Mahatmule Ni Teliya Leru (Telugu)—Adi Tala

—B. Vasudevachar.

Murati Priyam Bhaktipriyam (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

RISHABHI MALAKOSH

Hindustani

Rishabhi Malakosh is obtained by the slight use of Ri in avaroha only of Malakosh in a vakra sanchara रि ग स. Jati of this raga is Audava-Shadava. In aroha Ri and Pa are not used. In avaroha Pu is omitted. Aroha and avaroha are,

नि स ग म ध नि सं - सं नि ध म ग रि ग स।

40

RAGANIDHI

Svaras used are all Komal svaras. While singing this raga

the Meend is avoided. A composition in this rare

raga is,

Dir Dir Dir Tana (Tarana)—Tri Tal—J. D. Patki.

Karnatak

There is no Karnatak raga called Rishabhi Malakosh. This

sounds like Karnatak raga Suddha Todi in which Ri is kept

suppressed and in avaroha Gā is given a vakra sanchara. Aroha

and avaroha of Karnatak raga Suddha Todi are,

स ri ग् म ध नि सं — सं नि ध म ग ri स.

RITIGAULA

Hindustani

There is no Hindustani raga called Ritigaula. Karnatak

raga Ritigaula sounds like a mixture of Hindustani ragas

Bageshree and Bhimpalas.

Karnatak

Ritigaula is derived from the 22 Melakarta Kharaharapriya

(ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindu-

stani. Ritigaula used to be put under the 20th Melakarta

Natabhairavi. But as at present rendered the Dhaivata used is

Chatushruti of Kharaharapriya and not Suddha Dh of Nata-

bhairavi. Jati of Ritigaula is Shadava-Sampoorna. In aroha

Pa is not used. Aroha and avaroha of Ritigaula are,

स ग ri ग् म नि ध नि सं — सं नि ध म ग ri

म प म ग ri स नि2 ध2 प - नि2 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 ग ri ग् म नि ध नि सं or नि ध नि सं — सं नि ध म ग म प

म ग ri सं नि प S - नि S or नि नि सं.

In this raga there are vakra sanchara in buth aroha and

avaroha. These should be carefully remembered. Sanchara

ग म - नि नि सं in aroha leaving out Dh is also permissible and

sounds beautiful in Ritigaula. Sanchara नि ध S - नि नि S in

Mandra Saptak is full of Gambhirya. There is a prayoga in

which Suddha Dh is touched—ग ध प म S—sometimes. But as

Suddha Dh with andolan is characteristic of Ananda Bhairavi

it is better not to use this sanchara.

This is a popular raga. The following compositions are

often heard.

Raga Ratna Malika (Telugu)—Roopaka Tala---Tyagaraja.

Enna Vidachikaladagura (Telugu)---Chapu Tala—Tyagaraja.

41

RUDRAPRIYA

Hindustani

There is no raga called Rudrapriya in Hindustani sangeet.

Hindustani raga Palasi (not Bhimpalas) having the following

aroha and avaroha resembles Karnatak raga Rudrapriya,

Poornashadja, and Pushpalatika.

Palasi—स ri ग् म प नि सं — सं नि प स ग ri स (See Palasi).

Karnatak

Rudrapriya is a janya of the 22nd Melakarta, Kharahara-

priya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of

Hindustani. Its jati is Audava-Shadava. In aroha Pa and Dh

are not used. In avaroha Dh is not used. Aroha and avaroha

of Rudrapriya are,

स ri ग् म नि S सं — सं नि प म ग ri स.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma

and Kaisiki Ni. According to Hindustani notation the aroha

and avaroha are,

स ri ग् म नि ड सं — सं नि प म ग ri स.

This is not a popular raga but a pleasing one. Svar

group ग म नि S सं with Pa omitted and Ni elongated is

characteristic of this raga. The following composition in

Rudrapriya is sometimes heard.

Gananayakam Bhajeham Bhaje (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

42

RAGANIDHI

Shri Tyagaraja's Kriti "Lavanya Rama" is also sung by some in Rudrapriya raga. Others render it in the raga Poornashadja which resembles Rudrapriya.

Karnatak ragas Poornashadja and Pushpalatika resemble Rudrapriya.

Poornashadja--Pa is used in aroha also (See Poornashadja).

Pushpalatika--Pa is used in aroha also (See Pushpalatika).

According to Dikshitar school, there is a type of Rudrapriya whose jati is Sampoorna-Shadava. In avaroha Dh is omirted. Aroha and avaroha of this type are,

स ri ग2 म1 प ध2 नि2 सं — सं नि2 प म2 ग ri स

According to Hindustani notation they are,

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

A composition in this type is,

Rudragopajata Veerabhadra (Sanskrit)—Rupaka Tala

—Muttuswamy Dikshitar.

RUPAMANJARI MALHAR

Hindustani

This is a variety of Malhar belonging to Kafi That (Kharaharapriya). Svara groups म ri and ध प suggestive of Malhar are found in this raga. In uttaranga there is chaya of raga Des.

Svaras used are Tivra Ri, both Komal and Tivra Ga, S ddha Ma, Tivra Dha and Komal Ni. Komal Ga is sparingly used. Aroha and avaroha are,

स — म ri — प — नि ध नि प — म प — सं — सं ध नि ध प — म ri — स

Komal Ga is used in a sanchara ri ग ri — म म प. In mandra sthayee svara groups नि ध नि ध प — नि ध नि प — स are beautiful. Sanchara म — ग म ri स is also found. Chalan of this raga is,

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

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

43

RUPAVATI

This is a rare raga. The following composition in this raga is available.

Barakha Ruta Agama Paya—Rupak Tal (Vilambit).

Karnatak

There is no raga called Rupamanjari in Karnatak sangeet, nor one which resembles Rupamanjari or Rupamanjari Malhar of Hindustani.

RUPAVATI

Hindustani

There is no raga called Rupavati in Hindustani sangeet.

Karnatak

Rupavati is the 12th Melakarta of Karnatak sangeet (ra, gi, ma, dhu, nu). Its old name is also Rupavati. Aroha and avaroha of this Sampoorna-Sampoorna raga are,

स ri1 ग2 म1 प ध2 नि3 सं — सं नि3 ध2 प म1 ग2 ri1 स

Svaras used are Suddha Ri, Sadharana Ga, Suddha Ma, Shatsruti Dha and Kakali Ni. According to Hindustani notation aroha and avaroha are,

स ri ग़ म प निं सं — सं नि प म ग ri स

In the above svaras Komal Ni (नि) represents Shatsruti Dh (ध) of Karnatak system.

Rupavati is not a popular raga. The following compositions are available in this raga.

Ne More Bettina ('Telugu)—Triputa Tala—Tyagaraja.

Shri Krishnam Bhajare (Sanskrit)—Trisra Eka Tala

—Muttuswamy Dikshitar.

SAHANA or SHAHANA

Hindustani

This raga is also called Shahana Kanada as the sangati नि प and the svara group ri म ri which are indicative of Kanada chaya are present in this raga.

44 RAGANIDHI

Shahana belongs to Kafi That (Kharaharapriya). Its jati is Shadava-Sampoorna. Ri is not used in aroha. Aroha and avaroha of Sahana are,

ति स ग म प नि सं से ति ष निप घ म प म ग म धि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh and Komal Ni. Sometimes a touch of Tivra Ni is given. Pakad or diagnostic svara groups are,

सं घ नि प घ म प म ग म म त्रि रि स.

Vadi is Pa and Samvadi Sa. This raga is sung during the third prahara of the night. Sahana is said to have been formed by combination of three ragas Adana, Durbari Kanada and Malhar.

Use of Tivra Dh only in this raga distinguishes Sahana from the allied ragas Nayaki Kanada etc. Touches of Tivra Ni are given as स नि सं or प नि सं. Svara groups नि ष नि प-घ म प सं are frequently used. Sometimes म प ध नि सं is also used.

Compositions in Sahana Kanada are,

Gunda La Malana-Jhaptal (Madhya).

Kara Na Gori Maga-Jhaptal (Madhya)-J. D. Patki.

Tuma Bina More-Jhumra (Madhya).

Karnatak

Sahana or Shahana is a very popular raga. It is derived from the 28th Melakarta Harikambhoji (ri, gu, ma, dha, ni) which corresponds to Hindustani Khamaj That.

Jati of Shahana is Sampoorna-Sampoorna with vakra sancharas in both aroha and avaroha. Aroha and avaroha of Shahana are,

स ri ग ri म1 प म1 ध2 सं - सं नि2 ध2 प म1 ग ri म ri स ri.

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

45 SAHELI TODI

स ri ग म प ध नि सं - से नि ध म ग ri स ri स.

In aroha Dh is elongated. In avaroha Ni, Ga and Ri are elongated. The elongations or extensions of these svaras give a special beauty to Sahana raga.

Compositions in Shahana are many. The following are very popular.

Giripai Nelakonna (Telugu)-Adi Tala (Vilambakala)-Tyagaraja.

Rama Ika Namnu (Telugu)-Rupaka Tala-Patnam Subbramanya Iyer.

Vandana (Telugu)-Adi Tala-Tyagaraja.

Karnatak raga Shahana has no resemblance to the Hindustani raga Shahana.

According to Diksbitar schooi, Sahana is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni). It is a Sampoorna-Sampoorna raga with vakra sancharas in both aroha and avaroha. Its aroha and avaroha are,

स ri ग ri म1 प म1 ध2 नि2 सं - सं नि2 ध2 प म1 ग ri म ri स ri.

According to Hindustani notation, the aroha and avaroha are,

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

The use of Sadharana Gandhara in the above has its own beauty althoigh Shahana is not rendered with Sadharana Ga at the present day. The use of Sadharana Ga gives a touch of Kanada to Shahana.

A composition in this type of Shahana is,

Shree Kamalambikayam (Sanskrit)-Triputa Tala-Muttuswamy Dikshitar.

SAHELI TODI

Hindustani

We owe this new raga to Shri Kumar Gandharv. This raga has some resemblance to Bilaskhani Todi. Its jati is Audava-Shadava. In aroha Ma and Ni are omitted. In avaroha Ma is not used. Aroha and avaroha are,

स ri ग प ध सं or स ri ग ri ग प ध नि सं - ri ग ri स ri -स ri ग ri - स ध स.

Svaras used are all Komal svaras. Pakad or Gunjan svara groups are,

प़ रे स़ ऱss-प़s sऱss-ऱ ग़ रे स रे स-घ ss.

In both aroha and avaroha Ni is taken in vakra sanchara as घ़ नि घ़ सैं and घ़ नि घ़ प़. Svara groups प़ स प़ s-स s प़ s in mandra saptak create a serene effect. Rāga Vistara is mostly in Mandra and Madhya saptaks. Sanchara even in 'Tara saptak has a charn.

Vadi is Mandra Dh and Samvadi Ga. Nyasa svaras are Sa and Pa. This raga is sung during the second prahara of the day (9 a.m. to 12 noon). Compositions in Saheli Todi are,

Kahe Re Jagava De-Ek Tal (Vilambit)--Kumar Gandharv.

Chandasa Sukha Bana Dara-Ek 'Tal (Drut)

—Kumar Gandharv.

There is no Karnatak raga called Saheli Todi. It has chaya of Revagupti to a great extent. Use of Kaisiki Ni also introduces some Todi effect.

SAINDHAVI or SINDHURA

Hindustani

This raga is better known as Sindhura or Singhoda. Saindhavi belongs to Kafi That (Kharaharapriya). Its jati is Audava-Sampoorna. Ga and Ni are not used in aroha. Aroha and avarcha of Saindhavi are,

स रे म प ध़ सं—सं नि ध़ व म ग़ रि स.

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

रि म प ध़-नि s s ध़ प-ग़ रि-म प-ध़ ग़ रि. Vadi is Sa and Samvadi Pa. Some suggest Ri and Dh as Vadi and Samvadi. This suggestion is with the idea of keeping the svaroop of Saindhavi different from that of Kafi. Sindhura or Saindhavi can be sung at any time of the day or night. Pa should not be made prominent. It will sound like Kafi.

Svara group म प-ध़ प़ s ri should be frequently used in the vakra fashion. घ़ तु s ri sounds beautiful. Although Ni is omitted in aroha, sometimes Tivra Ni is used while singing the Antara as म प नि सं-रि ग़ रि सं. At the present day Sindhura and Kafi are rarely sung pure. They are generally intermixed. What we hear are Sindhura Kafi or Kafi Sindhura.

In Sindhura the svara groups रि म प ध़-नि s s प़ ग़ रि s with extension and Andolan of Ni are very charming. Compositions in raga Saindhavi or Sindhura are,

Jagadeesha Mai Tumhari-Jhaptal (Madhya).

Kona Kahata Tumase--Deepchandi.

Hindustani raga Kafi resembles Sindhura or Saindhavi.

Kafi--Aroha is Sampoorna. Vadi is Pa (See Kafi).

Karnatak

Karnatak raga Saindhavi is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani. Some consider this raga to be Nishadantya in aroha and Dhaivatantya in avaroha. Aroha and avaroha of this type are,

नि3 स रे ग2 म1 प ध2 नि2—ध2 प म1 ग2 रे स नि2 घ̣5.

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

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

According to the decision of the Experts Committee of the Music Academy, Madras the aroha and avaroha are,

नि2 ध2 नि2 स रे ग2 म1 प ध2 नि2 स—ध2 प म1 ग2 रे स1 नि2 घ2 नि2 स.

A composition based on this aroha and avaroha is,

Mam Pahi Shri Rama Rama (Sanskrit)—Rupaka Taia

—C. Rangiah.

The above mentioned types of Saindhavi resemble raga Chittaranjani (See Chittaranjani).

Another composition in Saindhavi is,

Itu Sahasamu Elara (Telugu)—Adi Tala—Swati Tirunal.

Karnatak raga Salaga Bhairavi which is a janya of the 22nd

Melakarta Kharaharapriya (Kafi That) has the same aroha and

avaroba as Saindhavi or Sindhura of Hindustani.

Aroha and avaroha of Salaga Bhairavi are,

स रि म प ध सैं — सं नि ध प म ग ri स.

(See Salaga Bhairavi).

According to Dikshitar school, Saindhavi is Sampoorna—

Sampoorna raga without any vakra sancharas.

A composition in this type of Saindhavi is,

Are Bhuvana Mohana Rupa (Lakshanageeta)—Jhampa Tala

—Venkatamakhi.

SAJAN

Hindustani

Sajan which is a rare raga belongs to Khamaj That

(Harikambhoji). Its jati is Audava—Sampoorna. Ri and Pa are

omitted in aroha. Aroha and avaroha of Sajan are,

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

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

and both Komal and Tivra Ni. In aroha only Tivra Ni is used.

Pakad or diagnostic svara groups are,

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

Vadi is Ma and Samvadi Sa. This raga is sung during the

second prahara of night. In avaroha vakra sancharas ध नि प

and ग म रि स should be remembered. They are pleasing. Ma

is kept elongated in this raga.

A composition in raga Sajan is,

Karata Mose Rara Natakhat—Trital (Madhya)—J. D. Patki.

Hindustani raga Goud Malhar has some resemblance to

raga Sajan.

Goud Malhar—Ni is not used in aroha. Only Komal Ni is

used in avaroha. Ri and Pa are used in aroha. Ga is not

used in aroha (See Goud Malhar).

There is no raga called Sajan in Karnatak sangeet.

Karnatak raga Kannada (not Kanada) which is a janya of the

29th Melakarta Harikambhoji (Khamaj That) has some resem-

blance to Sajan. In Kannada only Komal Ni is used in both

aroha and avaroha. Aroha and avaroha of raga Kannada are,

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

(See Kannada).

SAJGIRI

Hindustani

Sajgiri is placed under Marwa That. This raga is a mix-

ture of the two evening ragas Pooriya and Poorvi. Both

Madhyams are used but use of Prati Ma is more in evidence.

Jati of Sajgiri is Sampoorna—Sampoorna. Aroha and avaroha

of Sajgiri are,

नि ट़ी री ग़ - री - स - ग (म) - नि ध - म ध म ग - म प - ध प - स

— नि ट़ी नि ध़ प - नि म़ ध (म) - स म ग री स.

(Use of Komal Ma is indicated within brackets).

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

Prati Ma, both Komal and Tivra Dh and Tivra Ni.

Vadi is Ga. Samvadi is Ni. This is an evening raga.

Rendering of this raga is beautiful in Mandra and Madhya

saptaks. Sangati नि री is beautiful. Halting on Suddha Ma

sounds nice. Touch of Poorvi is given by the use of Tivra Dh

and Tivra Ma.

Compositions in raga Sajgiri are,

Yeri Aje Ananda—Ektal (Vilambit).

Araj Suno Meri—Ektal (Vilambit)—S. N. Ratanjankar.

Karnatak

There is no raga called Sajgiri in Karnatak sangeet, nor

one which resembles this Hindustani raga.

50 RAGANIDHI

SALAGA

There is no raga called Salaga in Hindustani sangeet.

Karnatak

Salaga is the 37th Melakarta (sa, ga, mi, dha, na). Its old name is Sougandhini. Salaga is a Sampoorna-Sampoorna raga. Its aroha and avaroha are,

स ri2 ग1 म2 प ध1 नि1 सं – सं नि1 ध1 प म2 ग1 रि1 स.

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

स रि म प ध सं – सं धपमं दि रि स.

In above Tivra Ri (रि) represents Suddha Ga (ग1) and Tivra Dh (ध) represents Suddha Ni (नि1) of Karnatak. Salaga is not a popular raga. Compositions in this raga are,

Ganamudam (Tamil)—Adi Tala—Kotishwara Iyer. Vamadeva Priya Sutam (Sanskrit)—Adi Tala —Balamuralikrishna.

SALAGA BHAIRAVI

Hindustani

There is no raga called Salaga Bhairavi in Hindustani sangeet. Raga Sindhura (also called Saindhavi or Singhora) belonging to Kafi That, (Kharaharapriya) has the same aroha and avaroha as Salaga Bhairavi of Karnatak sangeet. Aroha and avaroha of Sindhura are,

स रि म प ध सं – सं नि ध प म ग रि स.

(See Sindhura or Saindhavi).

Karnatak

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

51 SALAGA BHAIRAVI

Jati of Salaga Bhairavi is Audava-Sampoorna. Ga and Ni are omitted in aroha. Aroha and avaroha of Salaga Bhairavi are,

स रि2 म1 प ध2 सं – सं नि2 ध2 प म1 ग2 रि2 स.

Svaras are Chaturasruti Ri, Sadharana Ga, Suddha Ma, Chaturasruti Dha and Kaisiki Ni. Aroha and avaroha according to Hindustani notation are,

स रि म प ध सं – सं नि ध प म ग रि स.

Although not a popular raga it is a pleasant one. This raga resembles Hindustani raga Saindhavi or Sindhura. Certain sancharas like the ones given below give this raga a resemblance to Kafi raga of Hindustani sangeet.

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

Compositions in Salaga Bhairavi are,

Padavini Sadbhakti (Telugu)—Adi Tala—Tyagaraja. Madhava Ninu Madi Nammi Nanu (Telugu)—Adi Tala —Tiruvattiyur Tyagaraja.

Sama Gana Lola Nanu Bruva (Telugu)—Adi Tala —Veena Kuppa Iyer.

Dandini Shri Chandikambe (Kanarese)—Adi Tala —Muthiah Bhagavatar.

According to Dikshitar school Salaga Bhairavi is a Shadava-Sampoorna raga with vakra sancharas in aroha. Ni is omitted in aroha. Aroha and avaroha of this type of Salaga Bhairavi are,

स रि2 ग2 म1 प ध2 प सं – सं नि2 ध2 प म1 ग2 रि2 स.

According to Hindustani notation they are,

स रि ग म प ध सं – सं नि ध प म ग रि स.

A composition in this type of Salaga Bhairavi is, Tyagarajena Samrakshitoham (Sanskrit)—Adi Tala —Muttuswamy Dikshitar.

52

RAGANIDHI

SALAGAVARALI

Salagavarali is being popularised by Shri Krishna Ratanjankar. According to him it belongs to the 46th Karnatak Melakarta raga Shadvidhamargini. This Melakarta corresponds to a raga called Khatma Rag in Hindustani sangeet.

Salagavarali is taken to be the raga Meghanand mentioned in Sangita Parijata. Jati of Salagavarali is Shadava-Shadava. Ma is ommitted in this raga. There are vakra sancharas. Aroha and avaroha of Salagavarali are,

सा रि गू प ध नि सा - सा नि ध प म ग रि सा.

Svaras used are Komal Ri, Komal Ga, Tivra Dh and Komal Ni. This raga is sung during the second prahara of the day. Vadi is Pa and Samvadi Sa. Compositions in this raga are,

Aj Badhayee Bajc-Ek Tal (Vilambit)—S. N. Ratanjankar.

Sumara Sahib Sultan—Tri Tal—(Madhya).

—S. N. Ratanjankar.

Karnatak

There is no raga called Salagavarali in Karnatak sangeet in currency. There are ragas called Salagavelavali, Salavi, Salaga etc. mentioned in books on Karnatak sangeet. But Salagavarali is not mentioned in any of these.

There is no Karnatak raga which resembles Salagavarali of Hindustani sangeet.

SALANG

Hindustani

Salang belongs to Kafi That (Kharaharapriya). Its jati is Audava-Audava. Ga and Dh are ommitted. Aroha and avaroha of Salang are,

सा रि म प नि सं - से नि प म रि स.

All svaras are Suddha svaras. Strictly speaking this raga should be put under Bllaval That (Shankarabharana). But as Salang is considered to be a type of Sarang it is placed under Kafi That.

53

SALANG

Vadi is Sa and Samvadi Ma. This is a midday raga. In Salang which closely resembles Brindavani Sarang, only Tivra Ni is used in both aroha and avaroha.

This raga should be sung on Shuddha Sarang style using only Suddha Ma and omitting Dh which is occasionally used in Shuddha Sarang. This is a pleasing raga and deserves to be popularised.

A composition in raga Salang is,

Jare Jare Jare Jare—Jhap Tal—(Madhya).

Hindustani ragas Brindavani Sarang and Shuddha Sarang resemble Salang.

Brindavani Sarang—In aroha Tivra Ni and in avaroha Komal Ni are used. (See Brindavani Sarang).

Shuddha Sarang—Both Ma are used. Dh is also occasionally used. (See Shuddha Sarang).

Karnatak

There is no raga called Salang in Karnatak sangeet. There is a raga called Salaga which is Melakarta No. 37. This raga has no resemblance to Salang of Hindustani sangeet.

Prof. V. Sreenivasan's raga Nirmalangi has the same aroha and avaroha as Salang of Hindustani (See Nirmalangi).

If in raga Madhyamavati instead of Kaisiki Ni, Kakali Ni is used in both aroha and avaroha then it will correspond to Salang of Hindustani sangeet.

Aroha and avaroha of Madhyamavati are,

सा रि म प नि सं - सं नि प म रि स.

(See Madhyamavati).

Salang has the following aroha and avaroha,

सा रि म प नि - सं नि प म रि स.

Karnatak raga Hamsanada is sung at present with the following simplified aroha and avaroha,

सा रि म' प नि सं - सं नि प म' रि स.

(See Hamsanada).

If instead of Prati Ma only Suddha Ma is used in both aroha and avaroha then it will resemble the Hindustani raga Salang.

Karnatak raga Lavantika which is a janya of the 23rd Melakarta Gaurimanohari has the same aroha and avaroha as Salang of Hindustani and Nirmalangi the newly introduced Karnatak raga.

SALANGANATA

Hindustani

There is no raga called Salanganata in Hindustani sangeet. This is an interesting Karnatak raga. It can be formed by having Jogiā for aroha and Bibhas for avaroha as under,

स रि म प ध सं - सं ध प म रि स.

Karnatak

Salanganata is derived from the 15th Melakarta Mayamalava­gāula (Bhairav That). Its jati is Audava-Audava. In aroha Ga and Ni are omitted. In avaroha Ni and Ma are not used. Aroha and avaroha are,

स रि म प ध सं - सं ध प म रि स.

According to Hindustani notation they are,

स रि म प ध सं - सं ध प म रि स.

Salanganata sounds like a combination of Sāveri and Revagupti ragas—Sāveri in aroha and Revagupti in avaroha. This is not a popular raga. There is a raga called Saranganata in Karnatak sangcet which is however different from Salanganata (See Saranganata).

According to Dikshitar school Salanganata is a Audava-Sampoorna raga. Ga and Ni are omitted in aroha. Aroha and avaroha of this type are,

स रि म प ध सं - सं नि ध प म ग रि स.

With this aroha and avaroha this raga sounds like Sāveri. A composition in this type of Salanganata is, Anyaja Taruna Katakshi (Sanskrit)—Tripura Tala -Muttuswamy Dikshitar.

SAMA or SHYAMA

Hindustani

There is no raga called Sama in Hindustani sangeet. Some people call raga Shyama Kalyan as Shyama. Others consider that Shyama is a different raga. But they are not able to state the svaras used, aroha and avaroha etc. of Shyama as a different raga.

Karnatak raga Sama is also called Shyama and does not resemble Shyama Kalyan of Hindustani sangeet. (See Shyama Kalyan). Sama of South resembles raga Arabhi which is becoming popular in Hindustani sangeet. Aroha and avaroha of Arabhi are,

स रि म प ध सं - सं ध प म ग रि स.

(See Arabhi)

Karnatak

Sama is a janya of the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani sangeet. This raga is also called Shyama and is different from the Karnatak raga Shyama Kalyani which is derived from the 12th Melakarta Rupavati. (See Shyama Kalyani).

Jati of Sama or Shyama is Audava-Shadava. Ga and Ni are omitted in aroha. In avaroha Ni is omitted. Aroha and avaroha of Sama are,

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

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

सरि म प ध सं or सरि ग रि म प ध सं - सं ध प म ग रि स.

All svaras used in this raga are Suddha svaras of Hindustani sangeet.

In this raga andolan on Ma in aroha as स रि म S S and elongation of Ri in avaroha as म ग रि S S give it a special

charm and distinguish raga Sama from ragas Arabhi and Devagandhari. Although raga Sama is not as popular as the allied raga Arabbi, the following composition is a popular one.

Shantamuleka Soukhyamu Ledu (Telugu)—Adi Tala —Tyagaraja.

Karnatak ragas Arabhi and Devagandhari resemble Sama. Raga Pratapavarali has also some resemblance to Sama.

Arabhi—Sometimes Ni is used in avaroha. No andolan is given to Ma. Ri is not elongated (See Arabhi).

Devagandhari—Ni is used in avaroha prominently. Ni is elongated (See Devagandhari).

Pratapavarali—Dh is not used at all in aroha or used in a vakra sanchara (See Pratapavarali)

SAMANTA

Hindustani

There is no raga called Samanta in Hindustani sangeet.

Karnatak

Samanta is a janya of the 30th Melakarta Naganandi (ri, gu, ma, dhu, nu). Its jati is Sampoorna-Sampoorna. Aroha and avaroha are,

स ri₃ नि₃ म₁ प ध₂ नि₃ सं - सं नि₃ ध₂ प म₁ ग ri₃ स

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

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

In the above Komal (ग) represents Shatsruti Dh (ध₂) of Karnatak system. A composition in Samanta is,

Arutita Pratapam—Dhruva Tala—(Lakshanageeta) —Venkatamakhi.

SAMANTA JINGALA

Hindustani

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

Karnataka

Samanta Jingala is a janya of the 32nd Melakarta Gangeayabhushini (ru, gu, ma, dha, nu). Its jati is Sampoorna- avaroha are,

स ri₃ ग₂ म₁ प ध₁ नि₃ सं - सं नि₃ प ध₁ म₁ ग₂ ri₃ स

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

According to Hindustani notation they are,

संग र म प ध नि सं - सं नि प ध नि प म ग रि ग स

Komal Ga (ग) represents Shatsruti Ri (Ri₁) of Karnatak.

Vakra sancharas in avaroha should be carefully noted.

This is not a popular raga. The following composition in Samanta Jingala is available.

Shree Vallinayakam (Sanskrit)—Venkatasubbiah.

SAMANTA KALYAN

Hindustani

This rare raga belongs to Kalyan That (Mechakalyani). Its jati is Sampoorna-Sampoorna. Aroha and avaroha of Samanta Kalyan are,

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

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

Svaras used are all Tivra svaras. Pakad or Gunjan svara groups are,

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

Vadi is Ga and Samvadi Dh. This is an evening raga. Samanta Kalyan is a mixture of Shudda Kalyan and Hamir ragas in poorvanga and uttaranga respectively. Chalan of this raga is as under,

प ध ri - ध ध - प ध स - रि ग - रि गा - प ग - प ध ri स॥

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

58 RAGANIDHI

प प सं - नि घ - रि - से - नि - घ - नि - ध - प - म ध ध - ग रि - प त - रि - ग रि - स - स ॥

A composition in this raga is,

Sudha Budha Bavari Phirata-Jhap 'Tal (Madhya).

Karnatak

There is no Karnatak raga called Samanta Kalyan nor one which resembles this Hindustani raga.

SAMANTA SARANG

Samanta Sarang is a mixture of Des and Sarang ragas. Its jati is Audava-Shadava. Ga and Dh are omitted in its aroha and in avaroha Ga is not used. Aroha and avaroha of Samanta Sarang are,

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

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

Svaras used are Tivra Ri, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Tivra Ni is used in aroha and Komal Ni in avaroha. Vadi is Ri and Samvadi Pa. This raga is sung during the second prahara of the day. Angas of Des and Sarang are found as under,

Des—नि म प नि घ प - प ध प - म रि and म रि - म प - नि सं.

Sarang—नि स - रि - म रि - म प - म - रि - स.

Anga of Sarang should be established properly in poorvanga. Halt should be frequently made on Pa. From Pa downwards chaya of Sarang should be rendered. This is not a popular raga. Compositions in Samanta Sarang are,

Khelata Kanha Jamuna Neera Teera—Tri Tal (Madhya) —S. N. Ratanjankar.

Samanta Sarang—Jhap Tal—Bhatkhande.

Hindustani raga Sorat has some resemblance to Samant Sarang.

Sorat—In avaroha Pa is not used. नि ध म रि is used and not ध प म रि. (See Sorat).

Karnatak

There is no Karnatak raga called Samanta Sarang. Karnatak raga Surati which is a janya of the 28th Melakarta Harikambhoji (Khamaj That) resembles Samanta Sarang to some extent. Aroha and avaroha of Surati are,

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

In Surati Ga is used in avaroha, although in a vakra sanchara म ग प म रि स. (See Surati).

SAMPOORNA MALAKAUNS

Hindustani

This raga is called Sampoorna Malakauns as in addition to svaras used in Malakauns Ri and Pa which are not used in Malakauns are used in this raga in special sanchara. Its jati is Sampoorna-Sampoorna. Aroha and avaroha are,

प नि स म ग - म ध नि सं घु - नि रिं सं -

सं रि सं नि सं घ - म ध नि धू म - प म ग नि रि स

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Komal Dh and Komal Ni. Vadi is Ma and Samvadi Sa. Ri is used as नि रि स and स रि स. Pa is used as म ग म प म ग or प म ग ग.

This raga is sung during the third prahara of night. Chalan of this raga is,

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

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

सं नि ध स ग म प - म ग स रि स.

Compositions in this raga are,

Apano Roopa Pichhana Silabh—Ek Tal (Vilambit).

Muraliki Tera Sunave—Teen Tal (Madhya).

Karnatak

Jayanthashree of South resembles Sampoorna Malakauns but in Jayanthashree, Ri is not used.

60 RAGANIDHI

SAMPOORNA NAND

Hindustani

This is a recently introduced raga and is put under Kalyan That (Mechakalayani). Its jati is Audava-Sampoorna. Ri and Dh are omitted in aroha. Aroha and avaroha of Sampoorna Nand are,

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

Svaras used are all Tivra svaras. In aroha only Suddha Ma is used. Pakad or Gunjan svara groups are, प - ग म ध प - ध नि - ग. Vadi is Ga and Samvadi Ni. This raga is sung during the first prahara of the night. Aroha sounds like Bihag. Hence commencement of this raga is made with the following svaras

नि रे नि स - ग. In aroha only Suddha Ma is used. In avaroha Prati Ma is used along with Pa as and ‘kan’ or grace note is given to Ri as . This sounds good. In the svara group ग म ध प Dh should be kept weak or durbal. The intonation should be न ग ध प.

A composition in this raga is,

Barasana Lage Ye Badara—Tri Tal (Madhya).

There is no Karnatak raga called Sampoorna Nand nor one which resembles this Hindustani raga.

SANGAM KEDAR

Hindustani

Sangam Kedar belongs to Kalyan That (Mechakalayani). Its jati is Sampoorna-Shadava. Ni is omitted in avaroha. Aroha and avaroha of Sangam Kedar are,

स ग - रि ग म - म प - म ग प - ग नि ध प - म प ध - ग म रि सस or ग म रि स or नि प - रि स स.

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

Sengam means a meeting place. In this raga three ragas Kedar, Nat and Bilaval merge giving rise to the raga Sangam Kedar. Angas of the three ragas consiat of,

Kedar: स रि स - म म - प ध - नि ध प - म म - ग म रि स. Nat: स - ग म - प नि सं - नि ध - नि प - रि ग म प - स रि स. Bilaval: ग नि ध प - ग म रि - स रि - ग म प - प ध नि सं.

The commencement or of this raga is peculiar. It is as under,

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

Chalan of this raga is as given below:

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

प - नि नि - सं सं - प - नि सं रिं सं - ध - प - स रि ग म - प - ध - नि - सं रि नि सं - ध प - म प - ग म - रि स ।

This is a difficult raga. A composition in this raga is,

Kala Na Parata Mohe—Jhap Tal (Madhya).

Karnatak

There is no raga called Sangam Kedar in Karnatak sangeet nor one which resembles this Hindustani raga.

SANJARI

Hindustani

We owe this new raga to Shri Kumar Gandharv. Its jati is Audava-Sampoorna. In aroha Ga and Ni are omitted. There are vakra sancharas in both aroha and avaroha. Aroha and avaroha are,

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

61 SANJARI

62

RAGANIDHI

Svaras used are Tivra Ri, both Komal and Tivra Ga, both Suddha and Prati Ma, Tivra Dh, and Tivra Ni. Vadi is Ri and Samvadi Dh. Pakad or diagnostic svara groups are,

ति म - प ध म प - मा रि ग् रि - स रि ति स.

Svara group मा रि ग ri reminds us of Jayajayavanti and Gara ragas. This is a difficult raga. Compositions in Sanjari are,

Sanja Suna Lehori— Ek Tal (Vilambit)

—Kumar Gandharv.

Ratiya Daravana Lagori Ma—Tri 'lal (Drut)

—Kumar Gandharv.

There is no Karnatak raga called Sanjari nor one which resembles this new Hindustani raga.

SANJH or SANJH KA HINDOL

Hindustani

This raga is also called Sanjh Ka Hindol. It is considered to be the evening counterpart or evening 'Jawab' of the morning raga Hindol.

Sanjh belongs to Kalyan That (Mechakalyani). Its jati is Audava-Audava. Ri and Pa are omitted in both aroha and avaroha. Aroha and avaroha of Sanjh are,

मा - म ध म नि - म ध सं - नि ध नि स - ध म प - म ग̂ स.

Svaras used are all Tivra svaras only. Pakad or Gunjan svara groups are,

सं ग स ऋ - नि ध नि स स - मं ध स.

Vadi is Ga and Samvadi Ni. This is an evening raga. Sanchara of this raga is mostly in Mandra and Madhya saptaks. It sounds beautiful. Ni is elongated. Dh is kept short. This produces the evening effect. This raga is sung with Pooria ang. The following svaras are used for this purpose.

म ग स ऋ - ति ध नि स.

63

SANTANAMANJARI

Nyasa or long halt is not made on Tara Shadja as this will create a Hindol effect which is a morning one. This is a beautiful raga. A composition in this raga is,

Gunda Lavoo Malani— Tri Tal (Madhya)

—N. P. Koushik.

Hindustani raga Hindol has resemblance to Sanjh.

Hindol—Uttaranga prominent. Dh is elongated. Tara Shadja is made Nyasa frequently (See Hindol).

Karnatak

There is no Karnatak raga called Sanjh. Karnatak raga Sunadavinodini which is a janya of the 65th Melakarta Mechakalyani (Kalyan That) has the same aroha and avaroha as Sanjh and Hindol ragas of North. Aroha and avaroha of Sunadavinodini are,

स ग सं ध नि सं - सं नि ध म ग स.

(See Sunadavinodini).

SANTANAMANJARI

Hindustani

There is no raga called Santanamanjari in Hindustani sangeet.

Karnatak

Santanamanjari is the old name for the 67th Melakarta Sucharita (ru, gu, mi, dha, na). Janya raga Santanamanjari belongs to 67th Melakarta Sucharita. Its jati is Shadava-Shadava. In aroha Ni is omitted and in avaroha Ga is not used. Aroha and avaroha of Santanamanjari are,

स रि3 र2 म ग प ध सं - सं नि3 ध1 प म2 रि3 स.

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

स गू ग म प धू सं - सं ध धू प म गू स.

In above Komal Ga (g1) represents Shatsruti Ri (r3)

and Tivra Dh (D1) represents Suddha Ni (n1) of Karnatak sangeet.

A composition in the raga Santanamanjari is,

Santanamanjari Shankari (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

SARAMATI

Hindustani

There is no raga called Saramati in Hindustani sangeet. One

type of Koushi Kanada (Asavari That) has some resemblance

to Saramati of Karnatak sangeet. Aroha and avaroha of this

type of Koushi Kanada are,

निस - म स - म प निस - म निध - निसं -

मंगरिसं - निधप - प - ग - मगरिस.

(See Koushi Kanada of Asavari That).

Karnatak

Saramati is a janya of the 20th Melakarta Natabhairavi

(ri, gi, ma, dha, ni) which corresponds to Asavari That of

Hindustani sangeet. Jati of Saramati is Sampoorna–Audava.

Ri and Pa are omitted in avaroha. Aroha and avaroha of

Saramati are,

स रि2 ग2 म1 प ध1 निस - सं निस ध म1 ग2 स.

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

Suddha Dh and Kaisiki Ni. According to Hindustani notation

the aroha and avaroha are,

स रिगू म प धस नि सं - सं निधू म ग रि स.

Saramati is a very popular raga and a pleasant one. The

following composition in Saramati is a favourite one.

Mokshamu Galada Bhuvilo (Telugu)—Adi Tala

—Tyagaraja.

SARANGA

Hindustani

In Hindustani sangeet mere name Saranga stands for

Brindavani Saranga. There are many other Sarangas like

Shuddha Sarang, Madhumad Sarang etc. Aroha and avaroha

of Brindavani Saranga are,

स रि म प नि सं - सं निध प म रि स.

(See Brindavani Sarang)

Karnatak

Saranga is a Bhashanga raga. It is a janya of the 65th

Melakarta Mechakalyani (ri, gu, mi, dhi, nu) which corresponds

to Kalyan That of Hindustani sangeet. Saranga is a Sampoorna–

Sampoorna raga with vakra sanchara in avaroha. Aroha and

avaroha of Saranga are,

स रि2 ग3 म2 प ध2 निस - सं निध2 प म2 ग2 रि2 स.

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

Suddha Ma, Chaturasruti Dh and Kakali Ni. According to

Hindustani notation the aroha and avaroha are,

स रि ग मं ध प निस - सं निध प मं रि स ग म रि स स.

Komal Ma (Suddha Ma) is used in the vakra sanchara

ग म रि स in avaroha and Ri is elongated as स रि स ग म रि स स.

Saranga is a popular raga. The following composition is

rendered very frequently.

Neevadane Gana (Telugu)—Jhampa Tala

—Tyagaraja.

SARANGA MALHAR

Hindustani

This new raga has been composed by Shri Baburao

Kaslikar of Yeotmal. This is a kind of Malhar in which a

mixture of Sarang is found.

Jati of Saranga Malhar is Audava–Shadava. Varjya svaras

are Ga and Dh in aroha and Dh in avaroha. Aroha and

avaroha of Sarang Malhar are,

स - रि म - प - निध नि - सं - रि सं - नि-

प निप - म प - ग म - रि स - निध नि स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma and both Komal and Tivra Ni. Pakad or Gunjan svara groups are fि प म - fि प. In this raga use of both Ni side by side occurs as नि fि नि with Komal Ni placed between two Tivra Ni. The following svara groups are frequently used.

ग म - fि प - प ग म - स fि - स.

Sangatıs fि प and fि प are frequently used. Vadi is Pa and Samvadi Sa. This raga is sung during the second prahara of night. Compositions in raga Saranga Malhar are,

Aj More Ghara Aye–Ek Tal (Vilambit) —Baburao Kaslikar.

Balama Bara Bara–Tri Tal (Madhya) —Baburao Kaslikar.

Karnatak

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

SARANGA NATA

Hindustani

There is no raga called Saranga Nata in Hindustani sangeet. This Karnatak raga sounds like a mixture of Jogia and Bhairav. Its aroha is Jogia and avaroha is Bhairav. Aroha and avaroha of Saranga Nata are,

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

Karnatak

Saranga Nata is derived from the 15th Melakarta Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Hindustani Bhairav That. There are two types of Saranga Nata: 1. Shadava-Sampoorna–Ga is omitted in aroha. 2. Audava-Sampoorna–Ga and Ni are omitted in aroha. In the first type there is a vakra sanchara in aroha. The avaroha is the same for both types and there is a vakra sanchara.

Aroha and avaroha of the two types are,

1. स fि2 म1 प ध1 सं नि2 सं — सं नि2 सं ध1 प म1 ग2 fि2 स.

2. स fि म प धु सं — सं नि सं धु प म ग fि स.

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

1. स fि म प ध सं नि - सं नि सं ध प म ग fि स.

2. स fि म प ध सं - सं नि सं ध प म ग fि स.

Saranga Nata is not a popular raga. A composition in this raga is

Are Are Natha (Geeta)–Dhruva Rupaka Tala —Tiruvotriyur Tyagayya.

There is a raga called Salanga Nata which is also derived from Mayamalavagaula. Its aroha and avaroha are,

स fि म प धु सं — सं धु प म ग fि स.

(See Salanga Nata)

SARASANGI

Hindustani

There is no raga called Sarasangi in Hindustani sangeet. Raga Nata Bhairav which has the following aroha and avaroha resembles Sarasangi of Karnatak sangeet. Aroha and avaroha of Nata Bhairav are,

स fि ग म प धु नि सं — सं नि ध प - म ग fि स.

(See Nata Bhairav)

Karnatak

Sarasangi is the 27th Melakarta (ri, gu, ma, dha, nu). Its old name is Sourasena. Aroha and avaroha of this Sampoorna- Sampoorn raga are,

स fि2 म1 प ध1 सं नि2 सं — सं नि2 सं ध1 प म1 ग2 fि2 स.

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

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

68

The following composition in Sarasangi is sometimes heard.

Manavi Chekonavaiyya (Telugu)—Rupaka Tala

—Patnam Subbramanya Iyer.

According to Dikshitar school, avaroha of Sarasangi has got vakra sanchar म1 नी2 ऋ2 नी s. A composition with the avaroha with vakra sanchara is,

Soura Senesham Vallecsham (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

SARASVATI

Hindustani

Shri Balabhau Umdekar of Gwalior has tried to popularise this raga. The That to which raga Sarasvati belongs is the 64th Melakarta raga Vachaspati sangeet. Vachaspati That has for poorvanga Kalyan and for uttaranga Khamaj.

Aroha and avaroha of Melakarta Vachaspati are,

स रि2 म1 - प ध नि2 सं - सं नि2 ध प - म ग रि स.

Jati of Sarasvati strictly speaking is Audava-Shadava. In aroha Ga and Ni are omitted and in avaroha Ga is not used.

But in practice, in aroha, Ni is used in Hindustani raga Sarasvati in vakra sanchara. Aroha and avaroha of Sarasvati are,

स - रि2 म1 प - नि2 ध प - नि2 ध प - म ग रि स

ध वमे - म1 ध1 नि2 - स रि2 स स.

Pakad or diagnostic svara groups are,

म1 रि म1 सं - नि2 ध प - म1 प - स रि2 स स.

Svaras used are Tivra Ri, Prati Ma, Tivra Dh, and Komal Ni. Vadi is Pa and Samvadi Ri. This raga is sung in the night till midnight. Svaragroups रि2 नि2 ध प and प म1 रि स are frequently used. Ri is elongated in avaroha and it sounds nice.

Ni is used in vakra sanchara in aroba.

Compositions in raga Sarasvati are,

Piya Tori Lagee Tirachi—Tri Tal (Madhya)—J. D. Patki.

Hasa Hasata Aye Shyama—Tri Tal (Madhya)—J. D. Patki.

69

Hindustani raga Shyama Kalyan has some resemblance to raga Sarasvati.

Shyama Kalyan—Uses only Tivra Ni. Ga is used in avaroha (See Shyama Kalyan).

Karnatak

Sarasvati is a janya of the 64th Melakarta Vachaspati (ri, gu, mi, dhi, ni). Jati of Sarasvati is Audava-Shadava. Ga and Ni are omitted in aroha. In avaroha Ga is not used. Aroha and avaroha of Sarasvati are,

स रि2 म2 प ध2 - म2 नी2 ध2 प म2 ऋ2 स.

Svaras used are Chatusruti Ri, Prati Ma, Chatusruti Dh and Kaisiki Ni. Sarasvati has the following aroha and avaroha, according to Hindustani notation,

स रि म प ध सं - सं नि ध प म रि स.

In Karnatak raga Sarasvati, Ni is not used even in vakra sanchara. In Hindustani raga Sarasvati Ni is used in aroha in a vakra sanchara.

Sarasvati is a popular raga. The following composition is a favourite one.

Anuragamu Leni Manasuna (Telugu)—Rupaka Tala

—Tyagaraja.

SARASVATI MANOHARI

Hindustani

There is no raga called Sarasvati Manohari in Hindustani sangeet. This is a very pleasing raga and deserves to be introduced into Hindustani sangect—(1) under Khamaj That (2) under Bilaval That. Aroha and avaroha of this raga under Khamaj and Bilaval Thats respectively are,

Khamaj That.

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

Bilaval That.

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

70

RAGANIDHI

Karnatak

Sarasvati Manohari is derived from the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani sangeet. Jati of this is Audava-Sampoorna with vakra sanchara in avaroha.* Pa and Ni are varjya in aroha. Aroha and avaroha of Sarasvati Manohari are,

स ri2 ग2 म1 ध2 सं - सं ग2 नि3 प म1 ग2 ri3 स.

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

स रि1 म1 ध मं - मं ग2 नि2 प ग म1 ग2 रि2 स.

Sarasvati Manohari is a difficult raga for raga Alapana. The following composition is a favourite one with both vocalists and instrumentalists.

Enta Vedukondu RaghavA (Telugu)—Adi Tala—Tyagaraja.

According to Dikshitar school Sarasvati Manohari is a janya of the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bilaval That. Its jati is Shadava-Sampoorna. Pa is omitted in aroha. Its aroha and avaroha are,

स ri3 ग2 म1 ध2 नि3 सं - सं नि3 ध2 प म1 ग2 म1 ri2 स.

'There is a vakra sanchara in avaroha. According to Hindustani notation they are,

स रि1 ग म1 ध नि1 सं - सं नि1 ध प ग म ग म रि1 स.

A composition in this type of Sarasvati Manohari is,

Sarasvati Manohari (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

SARASVATI RANJANI

Hindustani

Sarasvati Ranjani is an unfamiliar raga and is different from raga Ranjani. Sarasvati Ranjani belongs to Kafi That (Kharaharapriya). Its jati is Audava-Sampoorna. Ri and Dha are omitted in aroha. Aroha and avaroha of this raga are,

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

71

SARPARDA

Svaras used are Tivra Ri, Komal Ga, Prati Ma, Tivra Dha and both Komal and Tivra Ni. In this raga only Prati Ma is used. Still it is put under Kafi That. Tivra Ni is used in aroha and Komal Ni is used in avaroha. Pakad or Gunjan svara groups are,

गंम प नि सं - नि ग प मं ग रि स.

Vadi is Pa and Samvadi Ri. This raga is sung during the third prahara of night. In this raga there are chayas of ragas Mooltani, Kafi, Madhuvanti and Simhendramadhyam. Mooltani chaya is particularly found in aroha. In avaroha as Komal Ni and Tivra Ri are used, the Mooltani chaya is removed. Chayas of the other three ragas are found in avaroha.

A composition in this raga is,

Nandaka Lala Madhumatavala—Tri Tal.

Hindustani raga Mooltani has some resemblance to raga Sarasvati Ranjani.

Mooltani—In avaroha also only Tivra Ni is used. Komal Ri is used (See Mooltani).

Karnatak

There is no raga called Sarasvati Ranjani in Karnatak sangeet nor one which resembles it. Karnatak raga Ranjani, a janya of 59th Melakarta Dharmavati, has no resemblance to the above Hindustani raga.

SARPARDA

Hindustani

This raga is said to have been composed by Hajrat Amir Khusro. It belongs to Bilaval That (Dheerasankarabharana). Its jati is Sampoorna-Sampoorna with vakra sanchras in both aroha and avaroha. Aroha and avaroha of Sarparda are,

स - रि2 ग2 म1 प - नि3 ध प - म ग - म रि स or

नि सं - नि2 ध प - म ग - म रि स.

In aroha all svaras are Suddha svaras only. In avaroha some use only Suddha svaras while others use both Komal and Tivra Ni. It is however better not to use Komal Ni at

all as it gives a flavour of raga Khamaj, particularly with the sangati which is frequently introduced.

Vadi is Sa and Samvadi Pa. This raga is sung during the first prahara of the day.

In this raga sangati is introduced and it sounds beautiful. But this sangati should be used only with Tivra Ni.

With Komal Ni it produces Khamaj effect.

Sarparda is not a very popular raga compared with other raga of Bilaval That.

Compositions in Sarparda are,

Vidhu Vadana Yuvati Gana—Jhap Tal (Madhya).

Sohata Gale Beech—Tri Tal (Madhya).

Sarparda consists of a mixture of Alaiyya Bilaval, Yaman, Goud and Bihag raga.

Karnatak

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

SAVANI

Hindustani

Savani belongs to Kafi That (Kharaharapriya).

This raga is formed by combining Patadeep, Deshi and Des raga.

Its jati is Audava-Sampoorna.

Ri and Dh are not used in aroha.

Aroha and avaroha of Savani are,

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

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

Sometimes Komal Ni is also used for ranjakatwa.

Diagnostic svara groups are,

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

Vadi is Sa and Samvadi Pa.

This raga is rendered mostly in Madhya and Tara Saptaks.

It is a Mosami raga (Rainy-season raga).

A composition in Savani is,

Saiyya Mori Pati Leta Jaiyyo—Rupak Tala

—Maharana Shri Prabhat Devjee.

Karnatak

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

SAVANI BAHAR

Hindustani

This is a kind of Bahar which is sung in the month of Shravan and hence it is called Savani Bahar.

It belongs to Kafi That (Kharaharapriya).

Its jati is Shadava-Shadava.

In aroha Ri is omitted.

In avaroha Dh is not used.

Vadi is Ma and Samvadi Sa.

This is a night raga.

Its aroha and avaroha are,

स ग म प नि ध प नि स -

रि नि स नि प म प ग् र ग् र ग् म रि स.

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

The svara group निसरिमपम - रिग gives the Savani chaya.

Svara group सनिपम suggests Bahar.

A composition in Savani Bahar is,

Garaja Garaja Barsaneko—Tri Tal (Madhya)—N. D. Joshi.

Karnatak

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

SAVANI BHUPALI

Hindustani

Savani Bhupati is a combination of Bhoop and Malhar raga.

Its jati is Shadava-Shadava.

In aroha Ma is not used.

In avaroha Ni is dropped.

Aroha and avaroha are,

स नि ग म रे ग - म प नि - ध नि स -

सं ख प म - ग म धि स नि प - ग रि स.

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

In aroha both Komal and Tivra Ni are used.

In avaroha both Komal and Tivra Ga are used.

Vadi is Sa and Samvadi Dh.

Chalan of this raga is,

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

ध सां S ध - प ग् रि ग् म रि स॥

ग म ग - प प प - ति ध - नि नि सं सं - सं रि रिं सं सं ग् गे ग् -

गं गें - से से नि ध ति से - ग ग प - गरि स॥

This is an evening raga. Compositions in Savani Bhupali are,

Savanaki Boondana--Tri Tal (Madhya).

Pi Pi Ratata Papiha--Teen Tal (Drut).

Karnatak

There is no Karnatak raga called Savani Bhupali, nor one

which resembles this rare Hindustani raga.

SAVANI BIHAG

Hindustani

Savani Bihag belongs to Bilaval That (Dheerasankara-bharana). Its jati is Audava-Sampoorna. In aroha Ri and Dh

are omitted. There are vakra sanchara8 in avaroha. Aroha

and avaroha of Savani Bihag are,

स ग म प नि सं - रिं सं नि ध - सं नि प - ग प म ग रि स - न ५ स स॥

Svaras used are all Suddha svaras only of Hindustani

sangeet. Vadi is Sa and Samvadi Pa. Chalan of this raga is

as under.

स ग म प - से - प प - न ५ स स। स ग म प म - ग रि स रि स।

नि ध स रि स - नि नि प ५ स। स स - स ग म - प प - नि सं सें।

प नि स से - ग रे - स रि से प धो - प प से - प म - ग रि से॥

प ५ - नि ५ नि - सं सें - से ५ सं। नि ध - से रिं सं - नि ध - से नि।

प पा - ग प म - ग रि - स ५ स स॥

Savani Bihag is not a popular raga yet. This raga is said

to have been composed by Khan Sahib Mehaboob Khan of

Abroli. He was the father-in-law of Ustad Faiz Khan, the

famous musician. Compositions of Mehaboob Khan of Abroli

bear the Mudra 'Darasapriya'. A composition in Savani

Bihag is,

Jane Akela Sab--Jhap Tal (Madhya).

Karnatak

There is no raga called Savani Bihag in Karnatak sangeet.

Karnatak raga Kedara has some resemblance to Savani Bihag.

In raga Kedara Dh is not used by some. Others use it as a

vakra sanchara in avaroha. Aroha and avaroha of Karnatak

raga Kedara are,

स म ग म प नि सें - सं नि प म ग रि स or

सं नि प म ग म ध म ग रि स॥

(See Kedara)

SAVANI DESH

Hindustani

Savani Desh belongs to Khamaj That (Harikambhoji).

Its jati is Sampoorna-Sampoorna. There are vakra sanchara8

in both aroha and avaroha. Aroha and avaroha of Savani

Desh are,

ग ति ५ स - रि ५ - ग म प - ध (म) - स म प - नि सें - सं सें -

नि सें - रिं सें - नि ५ - ध प - ध प म म - ग ति ५ स - रि॥

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

Dh and both Komal and Tivra Ni. Chalan of Savani Desh

is as under.

ग म नि ५ s रि ५ s - रि ग स प - ध (म) s - नि नि सें s नि से s s -

नि ध प - ध म ग - ग म ति ५ s स रि ५।

म म म प - नि नि सें - नि - नि सें s - रि नि सें s - नि s नि ति -

सं s सें - नि सें रि सें - नि ध प - ध (म) म म s॥

Svara group ध (म) s with Ma elongated sounds beautiful.

This is a rare raga and almost resembles raga Desh. A

composition in this raga is,

Eri Kari Badari--Tri Tal (Madhya).

Hindustani raga Desh is allied to this raga.

Desh--svara group रि ग म प is not used. Only रि ग प is

used (See Desh).

Karnatak

There is no raga called Savani Desh in Karnatak sangeet.

No Karnatak raga resembles this Hindustani raga.

SAVANI KALYAN

Hindustani

Savani Kalyan belongs to Kalyan That (Mechakalyani). Strictly speaking this raga should be put under Bilaval That as Prati Ma is not at all used. Only Suddha Ma is used. But as this raga is sung with the anga of Suddha Kalyan it is put under Kalyan That. According to some this raga is a Dhaivatantya raga. Aroha and avaroha of Savani Kalyan are,

प स-रि ग म-प ध-प स-रि स नि ध प़.

Svaras used are all Suddha svaras of Hindustani sangeet. Vadi is Sa and Samvadi Pa. Savani Kalyan is sung in the first prahara of night. Rāga vistara is mostly in Mandra and Madhya Saptaks. Chalan of this raga is as under.

ग रि स-नि ध प़- प स-रि ग रि स-स स-म ग-प प ध-प स-रि स प़ न-रि स ग रि स.

Compositions in Savani Kalyan are,

Gavo Bajavo Sura Saraga—Ada Choutal (Madhya), Jahu Ta Na Lage—Tilwada (Vilambit).

Karnatak

There is no raga called Savani Kalyan in Karnatak sangeet nor one which resembles this Hindustani raga.

SAVANI KEDAR

Hindustani

Savani Kedar belongs to Bilaval That (Dheerasankarabharana). It is a mixture of Kedar and Mia Malhar ragas. Its jati is Sampoorna-Shadava. In avaroha Dh is omitted. Aroha and avaroha of this raga are,

स-रि स-म ग-प-नि ध नि स-

स-नि प-म ग म प-ग म-रि स.

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

नि ध प़ नि स-म स-म ग-प प.

This is a rainy season raga. Both Nishads are used as in Mia Malhar. A composition in Savani Kedar is,

Tuma Ho Parabeena—Tilwada (Vilambit)

—S. N. Ratanjankar.

Tivra Ma is not even touched in this raga although Kedar anga is prominent.

Karnatak

There is no Karnatak raga called Savani Kedar nor one which resembles this Hindustani raga.

SAVERI

Hindustani

Karnatak raga Saveri is gradually becoming popular in Hindustani sangeet also. It belongs to Bhairav That (Mayamalavagaula). Jati of Saveri is Audava-Sampoorna. Ga and Ni are not used in aroha. Aroha and avaroha of Saveri are,

स रि म प ध स-स नि ध़ प म ग रि स.

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Komal Dh and Tivra Ni. This is a morning raga.

Hindustani raga Jogia has great resemblance to Saveri. Jogia—Pa is either not used or used only in a vakra sanchara in avaroha as ग म स रि स. Ga is not used in both aroha and avaroha. Aroha and avaroha of Jogia are,

स रि म-प ध स-स नि ध़ स-ग प म स-रि स.

(See Jogia)

Karnatak

Saveri is a very popular raga. It is a janya of the 15th Melakarta Mayamalavagaula (r, gu, ma, dha, nu) which corresponds to Bhairav That of Hindustani sangeet. Its jati is Audava-Sampoorna. In aroha Ga and Ni are omitted. Aroha and avaroha of Saveri are,

स रि म प ध स-स नि ध़ प म ग रि स.

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

Jeeva svaras of this raga are Suddha Ri and Suddha Dh. This raga is very appealing in the morning. A number of compositions are available. The following are very popular.

Rama Bana Tana Shourya (Telugu)—Adi Tala —(Vilamba Kala)—Tyagaraja.

Daridapule (Telugu)—Adi Tala—Tyagaraja. Amba Durusaga Kripa Joochi (Telugu)—Adi Tala —Shyama Shastri.

Karnatak ragas Malahari and Saranganata resemble Sāveri. Malahari—Ni is not used. Its aroha and avaroha are,

स रि म प धु सं — सं धु प म ग रि स.

(See Malahari)

Saranganata—In avaroha Ni is used in vakra sanchara. Aroha and avaroha of Saranganata are,

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

(See Saranganata).

SENAGRANI

Hindustani

There is no raga called Senagrani in Hindustani sangeet.

Karnatak

Senagrani is the old name for the 7th Melakarta Senavati (ra, gi, ma, dha, na). Janya raga Senagrani is derived from the 7th Melakarta Senavati. Its jati is Sampoorna-Sampoorna. There are vakra sanchāras in aroha and avaroha. Its aroha and avaroha are,

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

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

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

In above Tivra Dh (ध्) represents Suddha Ni (नि) of Karnatak system. A composition in raga Senagrani is,

Gyanambike Palayamam (Sanskrit)—Trisra Eka Tala —Muttuswamy Dikshitar.

SENAVATI

Hindustani

There is no raga called Senavati in Hindustani sangeet.

Karnatak

Senavati is the 7th Melakarta. Its old name is Senagrani (ra, gi, ma, dha, na). Its jati is Sampoorna-Sampoorna. Aroha and avaroha are,

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

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

According to Hindustani notation, the aroha and avaroha are,

स रि ग म प ध ध स — सं ध प म ग रि स.

In above Tivra Dh (ध्) represents Suddha Ni (नि) of Karnatak system. A composition in the raga Senavati is,

Jalamela Raghupate Shreepate (Telugu)—Adi Tala —Balamuralikrishna.

SHADVIDHAMARGINI

Hindustani

There is no raga called Shadvidhamargini in Hindustani sangeet. A raga called ‘Khatma’ corresponds to Shadvidhamargini of Karnatak sangeet. Khatma is a rare raga or ‘That. Aroha and avaroha of raga Khatma are,

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

Poorvanga consists of Todi and uttaranga of Khamaj.

Karnatak

Shadvidhamargini is Melakarta No. 46 of Karnatak sangeet (ra, gi, mi, dhi, ni). Old name for this Melakarta is Sthavaraj. Aroha and avaroha of this Sampoorna-Sampoorna jati raga are,

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

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

स िं र् मं प ष नि सं - सं नि ध प सं िं र् स.

Shadvidhamargini is not a popular raga.

The following compositions in this raga are available.

Samayamipudu (Telugu)–Adi Tala

—Tiruvotriyur Tyagayya.

Haimavateem Bhaja Manasa (Sanskrit)–Rupaka Tala

—Balamuralikrishna.

SHAILADESHAKSHI

Hindustani

There is no raga called Shailadeshakshi in Hindustani sangeet. This is a pleasing raga and can be easily absorbed into Hindustani sangeet.

Karnatak

Shailadeshakshi is the old name for the 35th Melakarta Shulini (ru, gu, ma, dhi, nu). Janya raga Shailadeshakshi is derived from the 35th Melakarta Shulini. Its jati is Audava-Shadava. Ri and Ni are omitted in aroha and in avaroha Ga is omitted. There is a vakra sanchar in avaroha. Aroha and avaroha of Shailadeshakshi are,

स मि रि ग प ध सैं - से नि ध सैं नि प मि रि स.

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

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

In above Komal Ga (ग) represents Shatsruti Ri (रि) of Karnatak system. A composition in Shailadeshakshi is,

Shree Shulini Shritapalini (Sanskrit)–Adi Tala

—Muttuswamy Dikshitar.

SHANKARA

Hindustani

Shankara is a very popular raga. It belongs to Bilaval That (Dheerasankarabharana). Jati of this is Audava-Shadava. Ri and Ma are not used in aroha. Jn avaroha Ma is omitted but Ri is slightly touched. Aroha and avaroha of Shankara are,

स ग ९ - नि ध मं नि - सं नि ध प - ग - ग प ग स - रि स.

Svaras used are Tivra Ri, Tivra Ga, Tivra Dh and Tivra Ni. Ri is only touched in avaroha. Some musicians do not even touch Ri as रि but end avaroha with ग प ग स रि स, with Ni मेँ रि स. Dh is taken as meed to Pa. Some musicians use Prati Ma in avaroha in a vakra sanchar as नि मं प and also use slightly Ri in avaroha. This type of Shankara is Audava-Sampoorna, aroha and avaroha being,

स ग प - नि ध सं नि - सं नि ध मं प - ग प - ग s रि स.

Pakad or Gunjan svara groups consist of

सं s नि ९ - नि ध - सं s नि s.

Vadi is Ga and Samvadi Ni. Sangatis प सं, ग प, and न स are frequently used. This raga is sung during the second prahara of night.

Compositions in Shankara which are very popular are,

So Jao Nuriya-Tilwada (Vilambit).

Shankara Bhandara Dole–Ek Tal (Drut).

Hindustani ragas Bibhag, Hamsadhvani, Shankara Aran, Mamata and Shankara Karan are allied to raga Shankara.

Bibhag–Ma is prominently used. Both Suddha and Prati Ma are used (See Bihag).

Hamsadhvani–Dh is not used. Ri is used prominently (See Hamsadhvani).

Shankara Aran–Tivra Ma is used prominently in aroha although it is omitted in avaroha (See Shankara Aran).

Mamata–Ri and Ma are completely omitted (See Mamata).

Shankara Karan–Ri is prominent (See Shankara Karan).

82 RAGANIDHI

Karnatak

There is no raga called Shankara in Karnatak sangeet. Karnatak raga Hamsadhvani resembles the above Hindustani raga to some extent. But in Hamsadhvani Dh is not used. Aroha and avaroha are,

स ri ग प नि सं – सं नि प ग ri स.

(See Hamsadhvani)

Hindustani raga Shankara is becoming popular in the South.

SHANKARA ARAN

Hindustani

This raga is a type of Shankara in which Tivra Ma is used prominently in aroha. Shankara Aran belongs to Kalyan That (Mechakalyani). Its jati is Shadava-Audava. In aroha Ri is omitted. In avaroha Ri and Ma are not used.

Aroha and avaroha of Shankara Aran are,

स -ग म् ध -प - नि ध सं– सं -नि ध -नि प -ग प -ग म स स.

Svaras used are all Tivra svaras. Vadi is Pa and Samvadi Sa. Pakad svara groups are,

ध प ग स - स ग म् ध - नि ध नि प - ग प ग स स.

Svara group ग म् ध gives a touch of Hamir to aroha. This raga is sung during night. This is not a popular raga but is an interesting one. A composition in this raga is,

Kahuko Rijhava Na Ho Alabadi—Rupaka Tal (Vilambit)

—S. N. Ratanjankar.

Jare Jare Jare Patangawa—Tri Tal (Madhya)

—S. N. Ratanjankar.

This raga is different from ragas Sankarabharan and Shankara Karan. Sankarabharan has no resemblance to Shankara Aran.

Shankara Karan—Ri is prominently used. Poorvanga is Kalyan and uttaranga is Shankara (See Shankara Karan). Another raga which resembles this raga is Mamata.

83 SHANKARABHARANA

Mamata—Ri and Ma are completely omitted. Aroha and avaroha of Mamata are,

स ग प ध नि सं - सं नि ध प ग ri स (See Mamata).

Karnatak

There is no raga called Shankara Aran. There is the popular raga Shankarabharana which has no resemblance to Shankara Aran of Hindustani sangeet. There is no Karnatak raga which resembles Shankara Aran.

SHANKARABHARANA

Hindustani

Bilaval That of Hindustani sangeet corresponds to Dheera-sankarabharana Melakarta of Karnatak sangeet. Shuddha Bilaval corresponds to raga Shankarabharana of South. It has the following aroha and avaroha.

स ri ग म प ध नि सं– सं नि ध प म ग ri स.

Shuddha Bilaval is also called by some as Shankarabharana (See Shuddha Bilaval).

Karnatak

Shankarabharana is one of the most popular ragas and also one of the most important Melakartas. Shankarabharana has the prefix ‘Dheera’ given to it for purposes of ‘Katapayadi Sankhya’ method for finding out the number of the Melakarta in the 72 Melakarta scheme. This Melakarta corresponds to the Diatonic Major Scale of Western Music. It is a major raga and chosen for singing Ragam, Tanam and Pallavi in concerts. Dheerasankarabharana is the 29th Melakarta (ri, gu, ma, dhi, nu). Aroha and avaroha of this Sampoorna-Sampoorna raga Shankarabharana are,

स ri ग2 म1 प ध2 नि3 सं– सं नि3 ध2 प म1 ग2 ri स.

Svaras used are Chatusruti Ri, Antara Ga, Shuddha Ma, Chatusruti Dha 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.

The most popular among the numerous compositions in this raga are,

Svara Raga Sudha (Telugu)—Adi Tala—Tyagaraja.

Akshaya Linga Vibho (Sanskrit) -Chapn Tala

—Muttuswamy Dikshitar.

Yeduta Nilichite (I'elugu)—Adi Tala—Tyagaraja.

Sahaja Guna Rama (Telugu) -Adi Tala

—Muthiah Bhagavatar.

SHANKARA KARAN

Hindustani

This is a rare raga. It is a mixture of Kalyan and Shankara ragas like Shankara Aran, Imani Shankara and Mamata ragas. In this raga poorvanga consists of Kalyan and uttaranga of Shankara. Ri is prominently used. Prati Ma is used in aroha only. Aroha and avaroha of this raga are,

स ri ग s - प नि ध s नि s - सं नि प म ग ri s s.

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

This raga is sung in the night. The following composition in raga Shankara Karan is available.

Sudha Mori Koun Rakhi—Tri Tal (Madhya)—G. N. Natar.

There seems to be some confusion regarding the ragas Shankara Aran and Shankara Karan. Some think that they are names for one and the same raga. Others consider them to be two different ragas.

Shankara Aran—Ri is not used (See Shankara Aran).

(For differences between other allied ragas, see Shankara).

Karnatak

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

SHANKARA MOHANA

Hindustani

There is no Hindustani raga called Shankara Mohana. This raga has for its aroha Hindustani raga Shankara and the Karnatak raga Mohana (Bhoop) for avaroha. Aroha and avaroha are,

स ri ग प नि ध सं नि — सं ध प म ri s.

In Shankara Ri is not used in aroha.

Karnatak

Shankara Mohana has been introduced by Shri C. Rangiah of Mysore. It is a combination of the popular Hindustani raga Shankara in aroha and of the popular Karnatak raga Mohana in avaroha. It is placed under the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bilaval That. Its jati is Shadava-Audava. In aroha Ma is omitted. In avaroha Ni and Ma are not used. There is vakra sanchara in aroha and avaroha arc,

स ri2 ग2 प नि3 ध2 स नि3 — सं ध3 प ग2 ri s.

Svaras used are Chaturasruti Ri, Antara Ga, Chaturasruti Dh and Kakali Ni. According to Hindustani notation they are,

स ri ग प नि ध सं नि — सं ध प ग ri s.

A composition in this raga is,

Namami Shankara Sutam (Sanskrit)—Adi Tala

—C. Rangiah.

SHANKARANANDINI

Hindustani

This new raga which is a mixture of Shankara, Bihag and Nand ragas is a pleasing one. Its jati is Shadava-Sampoorna. In aroha Ri is not used. Aroha and avaroha are,

स ग - प - नि ध सं नि or नि प सं नि —

सं नि ध प - म ग ri - ग म ध प - ri s s.

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

Aroha consists of Shankara. Uttaranga of avaroha is Bihag and poorvanga of avaroha is Nand. Svara groups indicative of these ragas are,

Shankara—नि ध सं नि or नि प सं नि.

Bihag—सं नि ध प - म ग म ग.

Nand—ग म ध प - ri s s.

This is a night raga. A composition in this raga is,

Jhumata Ave Radha Ke Sang--Teen Tal (Madhya).

Karnatak

There is no Karnatak raga called Shankaranandini nor one

which resembles this newly introduced Hindustani raga.

SHANKARAPRIYA or SHIVAPRIYA

Hindustani

There is no Hindustani raga called Shankarapriya.

Shivaranjini of North corresponds to the rare Karnatak raga

Shankarapriya. Shivaranjini has the following aroha and

avaroba,

स ri ग् प ध सं—सं ध प ग् ri स.

Karnatak

Shankarapriya belongs to the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of

Hindustani. Its jati is Audava-Audava. Ma and Ni are not

used. Aroha and avaroha are,

स ri2 ग2 प ध2 सं—सं ध2 प ग2 ri2 स.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha

Ma and Chatusruti Dh. According to Hindustani notation

they are,

स ri ग् प ध सं—सं ध प ग् ri स.

This raga is also called Shivapriya or Manolayam. A

composition in this raga is,

Va Velave (Tamil)—Adi Tala—S. Ramanathan.

Newly introduced Karnatak raga Dwigandharabhushini

resembles Shankarapriya or Shivapriya.

Dwigandharabhushini--Komal and Tivra Ga come together

as ri ग ri. Tivra Dh is used in aroha and Komal Dh

in avaroha (See Dwigandharabhushini).

SHANKARI

Hindustani

There is no Hindustani raga called Shankari. There is a

raga Shankara (See Shankara). This rare Karnatak raga

Shankari which makes use of only four svaras resembles one

of the types of Malashree the aroha and avaroha of which are,

स ग प नि सं—सं नि प ग ri स (See Malashree).

Karnatak

Shankari is a rare raga having only four svaras in both

aroha and avaroha. Its jati is Chatusvari-Chatusvari or

Svarantara-Svarantara. It belongs to the 29th Melakarta

Dheerasankarabharana (ri, gu, ma, dhi, nu) which correponds to

Bilaval That of Hindustani. Aroha and avaroha of Shankari are,

स ग3 प नि सं—सं नि5 प ri3 स.

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

are not used. According to Hindustani notation the aroha

and avaroha are,

स ग प नि सं—सं नि प ग स.

The authorship of this raga as well as the only composition

exisiting is attributed to two different composers.

Nannu Brochuta (Telugu)—Adi Tala

1. Kakinada Krishna Iyer.

2. Kanrakutti Krishna Iyengar.

A similar raga of only four svaras is being sung nowadays

under the name Mahati. 'here is already a raga called

Mahati which is a janya of the 43rd Melakarta Govambodhi.

Its jati is Shadava-Shadava. Aroha and avaroha of the

Pratimadhyama raga are,

स ri2 ग2 प ध2 नि1 सं—सं नि1 ध1 प ri2 ग2 स.

There is a Karnatak raga called Shankhari which also

belongs to the 29th Melakarta Dheerasankarabharana. It is

different from Shankari. Aroha and avaroha of Shankhari are,

स ri ग म प सं—सं नि प म ग ri स.

This is an interesting raga resembling Gambhiranata

without Ni in aroha (See Gambhiranata).

88 RAGANIDHI

SHANMUKHAPRIYA

Hindustani

This Karnatak raga is becoming popular in Hindustani sangeet during recent years. If Prati Ma is substituted for Suddha Ma in Asavari That then Shanmukhapriya That is formed. Aroha and avaroha of the same raga will be as under.

स ri ग् m प ध् नि सं — सं नि ध् प म् ग ri स.

Svaras used are Tivra Ri, Komal Ga, Prati Ma, Komal Dh and Komal Ni. Occasionally Tivra Db is also used. Hindustani musicians are now familiar with the Karnatak raga Simhendramadhyam. If Komal Ni is used in place of Tivra Ni then Shanmukhapriya Chalan of Shanmukhapriya is as under.

प म् s - प ध् नि s - ध s s - ध s नि s s - ध नि ri s - ri ग् म प s ध् नि धि सं — सं ध s - नि सं — ri ग् ri सं — ri ग् मं प् - मं ग् ri सं — नि सं ri सं — नि ध s - प म् s - प म् ग् ri s - ri ग ri s - नि ध् s नि s.

Occasional use of Tivra Dh is not only permissible but beautiful. A composition in Shanmukhapriya is,

Giridhara Murahara—Tri Tal (Madhya)—S. Rajam.

Karnatak

Shanmukhapriya is Melakarta No. 56 of Karnatak sangeet (ri, gi, mi, dha, ni). It is called Chamara by Dikshitar school. Jati of this raga is Sampoorna-Sampoorna. Aroha and avaroha of this raga are,

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

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

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

89 SHARABHADHWAJA

Although only Suddha Dh has to be used, in practice Chaturasruti Dh is permissible in aroha as प ध् नि सं instead of प ध् नि सं.

Shanmukhapriya assumes two svaroops on account of Dh.

1. Bhairavi svaroop on account of use of Chaturasruti Dh in aroha as in the raga Bhairavi.

2. Natabhairavi (Jeevanpuri) svaroop when only Suddha Dh is used in both aroha and avaroha.

In the past Shanmukhapriya used to be sung with Chaturasruti Dh in aroha like raga Bhairavi. It used to sound like Bhairavi with Prati Ma instead of Suddha Ma. At the present day use of Chaturasruti Dh is not done as far as possible. Also Ni which in aroha of Bhairavi becomes slightly higher than Kaisiki Ni is avoided by not giving the grace note of Sa and by elongating svara Ni as प ध् नि s s सं. These two factors make the raga Shanmukhapriya of the present day resemble the Hindustani ragas Durbari Kanada and Jeevanpuri in the lower sancharias.

Shanmukhapriya is a very popular raga. The following compositions are very frequently heard.

Mari Vere Dikkevaraiyya Rama (Telugu)—Adi Tala —Pattnam Subbramani Iyer.

Valli Nayaka Nive (Telugu)—Adi Tala —Muthiah Bhagavatar.

Siddhi Vinayakam (Sanskrit)—Rupaka Tala —Muttuswamy Dikshitar.

SHARABHADHWAJA

Hindustani

There is no Hindustani raga called Sharabhadhwaja. This is a pleasing raga which could be included among ragas of Marwa That (Gamanashrama). Its aroha and avaroha are,

स ri - ग म् प - ध - सं — सं ध - प म ri - स.

Karnatak

Sharabhadhwaja belongs to the 53rd Melakarta Gamana-shrama (ra, gu, mi, dhi, nu) which corresponds to Hindustani

90

RAGANIDHI

Marwa That. Jati of this raga is Shadava-Audava. Ni is not used in aroba. In avaroha Ni, and Ma are omitted. Aroha and avaroha are,

स रि1 ग2 म2 ध2 सं — सं ध2 प म2 रि1 स.

Svaras used are Suddha Ri, Antara Ga, Prati Ma, and Chatsruti Dh. According to Hindustani notation they are,

स रि ग़ म प ध सं — सं ध प म ग़ रि स.

In order to elongate Dh as ध ष s and सं ध s. A composition in this rare raga is,

Kunjara Gamana (Sanskrit)—Adi Tala—C. Rangiah.

SHARADABHARANA

Hindustani

There is no raga called Sharadabharana in Hindustani sangeet, nor one which corresponds to this Karnatak raga. This is an interesting raga and can be introduced into Hindustani sangeet.

Karnatak

Sharadabharana is a janya of the 34th Melakarta Vagadish-vari (ru, gu, ma, dhi, ni). Jati of this raga is Shadava-Shadava. Ri is omitted in aroha and Ga is not used in avaroha. Aroha and avaroha are,

स म1 ग2 म1 प ध1 नि2 सं or प ध2 नि3 सं —

सं नि2 ध1 म1 प म2 ग2 म.

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

स ऱि म प म ध नि सं or प ध नि सं — सं नि़ ध म प म ग़ रि स.

In the avaroha Komal Ga (ग़) stands for Shatsruti Ri (रि5) of Karnatak system. This is a pleasing raga but not a popular one. The following composition is available.

Saramaina Nee Namame (Telugu)—Adi Tala

—Tiruvotriyur Tyagayya.

91

SHARADAPRIYA

Hindustani

There is no Hindustani raga called Sharadapriya. It is obtained by substituting Komal Ni for Dh in Shivaranjini.

Shivaranjini—स रि ग़ म प ध सं — सं ध प ग़ रि स.

Sharadapriya—स रि ग़ प नि सं — से नि प ग़ रि स.

This raga has also Chaya of Palasi (See Palasi).

Karnatak

Sharadapriya has been introduced by Shri Mysore Venkatagiriyappa. It is put under the 20th Melakarta Nata-bhairavi (ri, gi, ma, dha, ni) which corresponds to Hindustani Asavari That. Its jati is Audava-Audava. Ma and Dh are not used. Aroha and avaroha are,

स रि2 ग2 नि2 सं — सं नि2 प ग2 रि2 स.

Svaras used are Chatsruti Ri, Antara Ga, and Kaisiki Ni. According to Hindustani notation they are,

स रि प नि सं — सं नि प ग़ रि स.

A composition in this raga is

Sharade Shubhra Hare (Sanskrit)—Trisra Eka Tala

—Mysore Venkatagiriyappa.

Sharadapriya does not seem to be different from raga Ratipatipriya (See Ratipatipriya).

Sharadapriya reminds us of the Karnatak ragas Pushpa-latika Bhinnashadja and Rudrapriya. In these ragas Ma is used (See Pushpalatika, Bhinnashadja and Rudrapriya).

SHARAVATI

Hindustani

There is no Hindustani raga called Sharavati.

Karnatak

Sharavati is the old name for the 25th Melakarta Mararanjani (ri, gu, ma, dha, na). Janya raga Sharavati is derived from the 25th Melakarta Mararanjani. Its jati is

92

RAGANIDHI

Shadava-Sampoorna with vakra sancharas in aroha. In aroha Ri is omitted. Aroha and avaroha of Sharavati are,

स म* नि स म1 प ध1 नि1 ध1 सं — सं नि1 ध1 प म1 ग2 रि2 स.

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

स म ग प धू स — सं घ धू प म ग रि स.

In above Tivra Dha (धू) represents Suddha Ni (नि1) of Karnatak system. A composition in Sharavati is,

Sharavati Tatavasini (Sanskrit)—Trisra Eka Tala —Muttuswamy Dikshitar.

SHEKHARACHANDRIKA

Hindustani

There is no Hindustani raga called Shekharachandrika. Gujari Todi or Gurjari Todi of Hindustani corresponds to the Karnatak raga Shekharachandrika. Aroha and avaroha of Gujari Todi are,

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

(See Gujari Todi)

Karnatak

Shekharachandrika is a rare raga. It is a janya of the 45th Melakarta Shubhapanthavarali (Todi That). This raga corresponds to the Hindustani raga Gujari Todi. Jati of Shekharachandrika is Shadava-Shadava. Pa is omitted. Aroha and avaroha are,

स रि गू म ध नि सं — सं नि ध म ग रि स.

A composition in Shekharachandrika is,

Ayyane un Azragaikana (Tamil)—Rupaka Tala —Vedanayakam Pillai.

Gujari Todi is also known as Shubhali thereby suggesting that it is Shubhapanthuvarali with Pa omitted.

SHESHANADA

Hindustani

There is no raga called Sheshanada in Hindustani sangeet. Hindustani musicians are now familiar with the raga Simhendra-madhyam. If Ni is omitted in aroha in this raga, then the raga Sheshanada is obtained (See Simhendramadhyam).

Karnatak

Sheshanada is derived from the 57th Melakarta Simhendra-madhyam (ri, gi, mi, dha, nu). Jati of the raga is Shadava-Sampoorna. In aroha Ni is omitted. Aroha and avaroha of this raga are,

स रि2 नि3 म2 प ध1 सं — सं नि3 ध1 प म2 ग2 रि2 स.

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

स रे ग़ म प ध़ सं — सं नि ध प म ग रि स.

Sheshanada is not a popular raga. The following composition is available.

Kori Nanu Ninnepudu (Telugu)—Adi Tala —Tiruvotriyur Tyagayya.

SHIVA BHAIRAV

Hindustani

Shiva Bhairav is also known as Shivamath Bhairav or Shree Bhairav. There is difference of opinion regarding the svaroop (nature) of this raga. This is a Mishra Mela raga. But as it is sung with Bhairav ang it is put under Bhairav That (Mayamalava-gaula). Its jati is Sampoorna-Sampoorna. Aroha and avaroha of this raga are,

म प ध नि स — ग म ध नि — ग प ध — नि सं — रि ग़ रिं ग़ सं — नि सं — धु नि ध ग़ — स नि स.

Svaras used are Komal Ri, both Komal and Tivra Ga, Suddha Ma, Komal Dha and both Komal and Tivra Ni. Sometimes Tivra Dha is also used. Vadi is Dha and Samvadi Ri. This raga is sung in the morning. In avaroha use of

Komal Ga gives this raga Chaya of Todi. Komal Ga and Komal Ni are not used in a straight way but in vakra sancharas नि स ग रि स and नि स - ग रि ग. This is not a popular raga.

The following compositions are sometimes heard.

Gavu Milike Aj Badhava–Tri 'Tal (Vilambit).

Suna Suna Sujan Chatara–Tri Tal (Madhya)

Sadaranga Bandho–Choutal (Madhya).

—S. N. Ratanjankar.

Karnatak

There is no raga called Shiva Bhairav in Karnatak sangeet nor one which resembles this Hindustani raga.

SHIVA KAMBHODI

Hindustani

There is no raga called Shiva Kambhodi in Hindustani sangeet. This is an interesting raga which can be introduced into Hindustani sangeet under ragas of Khamaj That. Sanchara ग म नि s ग in aroha is peculiar and good. In avaroha svara group स नि प म ग s sounds like Tilang.

Karnatak

Shiva Kambhodi is a janya of 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani sangeet. Its jati is Audava-Shadava. Pa and Dha are not used in aroha and in avaroha Dha is omitted. Aroha and avaroha of Shiva Kambhodi are,

स रि ग म नि s - स नि ग2 म1 नि2 s रि ग s.

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

स रि ग म नि s - स नि प म ग s रि s.

Jeeva svaras of this raga are Ga and Ni. These svaras are elongated and sound beautiful. The following svara groups are very pleasing,

स रि ग s - ग म नि s - ग म नि s - ग म नि प s - ति प म ग s - स नि प म ग s.

Shivakambhodi is not a popular raga but a pleasing one. Compositions in this raga are,

Kamakshi Pahi Mam (Sanskrit)–Khanda Triputa Tala

—Jayachamaraja Wadiyar.

Satatamu Ninne Sharanamtine (T'elugu)–Adi Tala

—Mysore Padmanabha Rao.

SHIVAPANTUVARALI

Hindustani

There is no Hindustani raga called Shivapantuvarali. Shivapantuvarali Melakarta corresponds to Todi That of Hindustani sangeet. The present name for Shivapantuvarali in Karnatak sangeet is Subhapantuvarali (See Subhapantuvarali).

Karnatak

Shivapantuvarali is the old name for the 45th Melakarta Subhapantuvarali (ra, gi, mi, dha, ni). This is a Sampoorna-Sampoorna raga and corresponds in every way to Subhapantuvarali (See Shubhapantuvarali).

SHIVARAJ

Hindustani

This rare raga sounds like a mixture of Simhendramadhyam, Mooltani and Piloo ragas. Jati of this raga is Audava-avarohi. Ri and Dha are omitted in aroha. Aroha and avaroha of this raga are,

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

Svaras used are Tivra Ri, Komal Ga, Tivra Ma, Komal Dha and Tivra Ni. Pakad or Gunjian svara groups are,

नि स ग म - प - ग म प - नि ध प - म ग म ग s - रि s च s.

Aroha of this raga sounds like Mooltani and avaroha ends like Simhendramadhyam. Svar groups स ग रि s - निध प

sound like Piloo or Keeravani or Simhendramadhyam. A composition in raga Shivaraj is,

Binati Mano Piya—Tri Tal (Madhya)—J. D. Patki.

Hindustani ragas Mooltani and Simhendramadhyam resemble raga Shivaraj.

Mooltani—Ri is Komal (See Mooltani).

Simhendramadhyam—Ri and Dh are used in aroha (See Simhendramadhyam).

Karnatak

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

SHIVARANJINI

Hindustani

Shivaranjini is a raga which has become popular during the last twenty years. It belongs to Kafi That (Kharaharapriya).

Its jati is Audava-Audava. Ma and Ni are omitted in both aroha and avaroha. Aroha and avaroha of this raga are,

स ri ग् म प - ध - s - s नि ध प - ग् म ri s s.

Svaras used are Tivra Ri, Komal Ga and Tivra Dh. Pakad or Gunjan svara groups are,

ग् प ध s - ध प ग् ri - s.

Vadi is Pa and Samvadi Sa. This raga appeals very much in the night. It has pathos in it. It is used in Film music for expressing sorrow. Shivaranjini is obtained by using Komal Ga in Bhoop instead of Tivra Ga.

which could be obtained by such a simple process had escaped the imagination of musicians till very recently. Compositions in Shivaranjini are,

Beena Bajavata Mohana—Jhap Tal—J. D. Patki.

Bole Atariya Sakhi Kagava—Tri Tal—J. D. Patki.

Karnatak

There is a raga called Shivaranjini in Karnatak sangeet which is a janya of the 64th Melakart Vachaspati (ri, gu, mi, dhi, ni).

Its jati is Sampoorna-Sampoorna with vakra sanchras in both aroha and avaroha. Aroha and avaroha of Shivaranjini of Karnatak sangeet are,

स ri ग् ri म2 ध2 प ध2 नि3 s - s नि3 ध2 प ध2 म2 ri2 नि2 s.

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

स ri ग् म ध प नि s - s नि ध प म ग ri नि s.

Karnatak raga Shivaranjini has no resemblance to the Shivaranjini of Hindustani sangeet. There are no compositions in the Karnatak raga Shivaranjini. It is not a popular raga.

Shankarapriya of South resembles Shivaranjini (See Shankara-priya). Shankarapriya is also called Shivapriya or Manolyam (See Shankarapriya). Dvigandharabhushini resembles Shiva-ranjini of North and also has pathos in it. Aroha and avaroha of Dvigandharabhushini are,

स ri ग् ri -प ध - s - s नि ध s प - ri ग् ri s s - ध s.

Svaras used are Tivra Ri, both Komal and Tivra Ga, both Komal and Tivra Dh (See Dvigandharabhushini).

Raga Japani recently introduced by Shri V. Ramanathan resembles Shivaranjini of Hindustani. In Japani, Dh is Komal.

Aroha and avaroha are,

स ri ग् प ध s - s ध् प ग् ri s.

This scale is found in the Japanese Koto music.

SHIVATILAK

Hindustani

Shivatilak seems to have been formed by combining ragas Shankara and Tilak Kamod. In uttaranga it has chaya of Shankara and in its poorvanga that of Tilak Kamod. Aroha and avaroha of Shiva Tilak are,

प नि - स ri ग् ri s - ग प नि ध s - s - नि s - (q) -

ध s ग - s ri प म ग - (s) नि - प नि s ri - ग s s s.

Svaras used are all Suddha svaras of Hindustani sangeet. Svaras group ऋ म न sounds like Bihag. This is used between Tilak Kamod and Shankara angas of Shivatilak as a connecting link. Meend न s s ऋ is prominently given. This is a very pleasing raga and deserves to be popularised. Compositions in this raga are, Mukta Uparakini Jo--Ek Tal (Vilambit)--G. N. Natoo. Sadhata Kaja Bina Lagava--Tri Tal (Madhya)--G. N. Natoo.

Karnatak

There is no raga called Shivatilak in Karnatak sangeet. There is no Karnatak raga which resembles this Hindustani raga.

SHOBHAVARI

Hindustani

Shobhavari belongs to Asavari That (Natabhairavi). Its jati is Audava-Audava. Ga and Ni are omitted in this raga. Aroha and avaroha of raga Shobhavari are, स - ऋ - म - प - सं धू S सं - सं - धू - प म - ऋ S S स. Svaras used are Tivra Ri, Suddha Ma and Komal Dh. Pakad or Gunjan svara groups are, ऋ म प सं - ऋ S प - म प धू - म प - म ऋ S स. Vadi is Dh and Samvadi Ri. This is a morning raga. Sangati म ऋ sounds beautiful. Care should be taken not to introduce Komal Ri. This will convert Shobhavari to Jogia. Compositions in raga Shobhavari are, Ab Na Jagavo Pritama--Tri Tal (Madhya)--J. D. Patki. Bandhanava Bando--Ek Tal (Madhya)--J. D. Patki.

Hindustani ragas Asavari and Jeevanpuri resemble Shobhavari. In these ragas svaras Ni and Ga are used prominently.

Karnatak

Karnatak raga Sutradhari resembles this Hindustani raga.

SHREE

Hindustani

Raga Shree belongs to Poorvi That (Kamavardhini). There are two types of Shree--(1) Audava-Sampoorna. (2) Shadava-Sampoorna. Aroha and avaroha of the 1st type of Shree are, स ऋ न् ऋ - स - ऋ मं प - मि सं - सं - नि धू - प - म ग ऋ - . ग ऋ - ऋ स. Ga and Dh are omitted in aroha. Aroha and avaroha of the 2nd type of Shree are, स - ऋ - म प - धू प - धू नि सं - सं - नि धू - प - म ग ऋ - म ऋ - ऋ स. Ga is omitted in aroha.

Svaras used are Komal Ri, Tivra Ga, Prati Ma, Komal Dh and Tivra Ni. Pakad or 'Raga Vachak' svara groups are, स - ऋ न् ऋ - स - प म ग ऋ - म ऋ ऋ - स. Vadi is Ri and Samvadi Pa. Raga Shree is sung in the evening at sun set time. Sangati ऋ प is beautiful. In the svara group स ऋ न् ऋ स, grace note for the first note Ri is ऋ and for the second Ri is न. These grace notes are of great importance in raga Shree. The intonation of the svara group स ऋ न् ऋ स with the grace notes is suggestive of raga Shree. Use of double Ri with different grace notes is beautiful. This is considered to be the soul of the Hindustani raga Shree.

Similarly the svara group प धू नि धू प in which the grace note for the two Dh are different has to be carefully remembered. Svaras group म प मि सं in aroha sounds very nice. Even when Dh is used it is not used in a straight way as म प धू नि सं but म धू नि सं. Sanchara of this raga is chiefly in Mandra and Madhya Saptaks. Vishranti sthanas or halting

svaras are Sa, Ri and Pa. The following svara groups are used in Shree frequently.

ष प नि ध प - ऋि म प नि सं or मं ध नि सं.

Raga Shree is a very popular raga. The following compositions are often heard.

Gajarava Baje—Ek Tal (Vilambit).

Eri Hu To Asan Gaito—Teen Tal (Drut).

Hindustani ragas Pooria Dhanashree and Gauri resemble raga Shree.

Pooria Dhanashree--Ga is used in aroha. Vadi is Pa. Svara group नि रि ग म प is frequently used. So also ष नि ध प ५ - म त्रि ग ५.

(See Pooria Dhanashree).

Gauri—(Shree Ang)—Ga is not used in either aroha or avaroha (See Gauri).

Karnatak

Raga Shree of Karnatak sangeet is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani sangeet. The old name for Kharaharapriya is Shree raga.

Hence the Shree ragas of North and South have no resemblance to each other.

Jati of Shree raga is Audava-Sampoorna. In its aroha Ga and Dh are omitted. Aroha and avaroha of Shree raga are,

स रि2 म1 प नि2 स—स नि2 प ध2 नि2 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,

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

There are two vakra sancharas in avaroha. Andolan of Ga in avaroha as प म रि - गि S रि स sounds very beautiful and is suggestive of Shree raga. Shree raga is a very pleasing one and a popular raga too.

Compositions which are well known are,

Yendaro Mahanubhavulu (Telugu)—Adi Tala—Tyagaraja.

(One of Tyagaraja's Pancharatna Kritis).

Shri Varalakshmi Namostu Te (Sanskrit)—Rupaka Tala.

—Muttuswamy Dikshitar.

Karnatak ragas Madhyamavati, Pushpalatika and Manirangu resemble Shree raga.

Madhyamavati—Ga and Dh are not at all used (See Madhyamavati).

Pushpalatika--Ga is used in both aroha and avaroha. Dh is not used (See Pushpalatika).

Manirangu—Ga is used in avaroha. Dh is not used (See Manirangu).

One type of Badahamsa Sarang of Hindustani resembles Shree raga of Karnatak (See Badahamsa).

SHREE KALYAN

Hindustani

Although called Shree Kalyan this raga has nothing to do with raga Shree. Shree Kalyan belongs to Kalyan That. Its jati is Audava-Audava. Ga and Ni are omitted in this raga. Aroha and avaroha of Shree Kalyan are,

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

All the svaras are Tivra svaras only. There are vakra sancharas in both aroha and avaroha. Pakad or the chief Anga of the raga consists of,

स ध S - रि म S प - रि S S स.

Vadi is Pa and Samvadi Sa. This is an evening raga. In this raga there are touches of Bhoop, Suddha Kalyan and Kamod. Antara in this raga begins with प ध प सं or प ध मे प सं.

This is not a popular raga. Compositions in Shree Kalyan are,

Aye Sajan More Gharava—Ek Tal (Vilambit)—J. D. Patki.

Kare Kare Tuma Nanda Lala—Ek Tal (Madhyay)

—S. A. Mahadkar.

Raga Sarasvati which has been introduced into Hindustani sangeet from the South resembles Shree Kalyan.

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RAGANIDHI

Sarasvati—In avaroha Ni is used. There are no vakra

sancharas in Sarasvati (See Sarasvati).

Karnatak

There is no raga called Shree Kalyan in Karnatak sangeet.

Karnatak raga Sarasvati having the following aroha and avaroha

resembles Shree Kalyan of Hindustani sangeet. Aroha and

avaroha of Sarasvati are,

स ri1 सं p घ sं - सं ni2 ध प म ri1 स.

(See Sarasvati).

In Shree Kalyan Ni is not used even in avaroha.

SHREEMANI

Hindustani

There is no raga called Shreemani in Hindustani sangeet

nor one which corresponds to the above Karnatak raga.

Karnatak

Shreemani is derived from the 2nd Melakarta Ratnangi (ra,

ga, ma, dha, ni). Jati is Audava-Shadava. Ma and Ni are

omitted in aroha and in avaroha Ma is dropped. Aroha and

avaroha of Shreemani are,

स ri1 ग1 म1 ध sं - सं ni2 ध प ग1 ri1 स.

According to Hindustani notation they are,

स ri1 ग प ध sं - सं नि ध प ri1 स.

In above Tivra Ri (ri1) represents Suddha Ga (ग1) of

Karnatak sangeet. Svaras used are Suddha Ri, Suddha Ga,

Suddha Ma, Suddha Dh and Kaisiki Ni.

Shreemani is not a popular raga. The following

compositions are available.

Yemandu Ne Vichitramunu (Telugu)—Desha Adi Tala

--Tyagaraja.

Shreemani Lola (Telugu)—Trisraji Triputa

--T. N. C. Narayanacharya.

In this raga Suddha Ga, Panchama and Suddha Dh are the

raga chaya svaras. Suddha Ga should be uttered carefully in

place of Chaturasruti Ri.

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SHREERANJINI

The following prayogas are characteristic of Shreemani,

नि s स ri1 स s s - स ni2 ध s ति ri1 s s - नि ध s s स ri1 -

ति p s s - ति प ध s - घ s s सं नि ध s - घ s तिं ri1 sं -

घ ri1 sं ri1 sं s ||

Tivra Ri (ri1) stands for Suddha Ga (ग1) of Karnatak

system.

SHREERANJINI

Hindustani

Shreeranjini which is a Karnatak raga is finding its way

into Hindustani sangeet during recent years. It can be put

under Kafi That (Kharaharapriya). Its jati is Shadava-

Shadava. Aroha and avaroha of Shreeranjini are,

स ri1 ग म ध नि sं - सं नि2 ध म ग ri1 स.

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

Dh and Komal Ni.

Shreeranjini resembles Suddha Bageshree of North. In

Suddha Bageshree Pa is not used and only Komal Ni is used.

Bageshree as sung at present uses Pa and Tivra Ni is also

touched. (See Bageshree).

While singing Shreeranjini care should be taken not to use

म ध sं. It should be म ध नि sं, otherwise it will sound like

Abhogi. A composition in raga Shriranjani is,

Guni Jana Karata Mela (Lakshanageet)—Ek Tal (Madhya)

--Bharkhande.

Hindustani raga Bageshree resembles Shreeranjini.

Bageshree—Pa is used. Tivra Ni is also slightly used.

(See Bageshree).

Karnatak

Shreeranjini is a janya of the 22nd Melakarta Kharaharapriya

(ri, gi, ma, dhi, ni) which corresponds to Kafi That of

Hindustani sangeet. Its Jati is Shadava-Shadava. Pa is

omitted in this raga. Aroha and avaroha of Shreeranjini are,

स ri2 ग2 म1 ध2 नि2 sं - सं नि2 ध2 म1 ग2 ri2 स.

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

स ri ग ri म ध नि सं - सं नि ध म ग ri स.

Andolan on Ga and Ni as स ri ग̣ ss and स ध नि̣ ss sounds beautiful. Halt on Ma as स ध म̣ ss is charming.

Shreeranjini is a very pleasing raga and popular. The following compositions are very commonly sung.

Maru Balka (Telugu)--Adi Tala--Tyagaraja.

Sogasuga Mridanga (Telugu)--Rupaka Tala--Tyagaraja.

Daya Leka Batiki (Telugu)--Adi Tala--B. Vasudevachar.

SHREE TANKI or TANKI

Hindustani

Shree Tanki or Tanki belongs to Poorvi That (Kamavardhini). There are three types of this raga.

(I) Audava-SampoornA

In aroha Ma and Ni are not used. Aroha and avaroha of this type are,

ग ri - स ri - स ग - प ध़ - प सं - स - नि ध़ - प -

मं ग - प - ग - ri स.

(II) Audava-Shadava

In aroha Ma and Ni are omitted. In avaroha Ma is not used. Aroha and avaroha of this type are,

ग ri - स ri - स ग - प ध़ - प सं - सं - नि ध़ - प - प - ग - ri स.

(III) Shadava-SampoornA

In aroha Ma is not used. Aroha and avaroha of Tanki are,

ग - ri स - नि स - ग प - ध़ प - नि सं - सं - नि ध़ - प -

मं ग - प - ग - ri स.

Svaras used in all the three types are Koma! Ri, Tivra Ga, Prati Ma, Komal Dh, and Tivra Ni. Vadi is Pa and Samvadi Ri. Shree Tanki or Tanki is an evening raga. In this raga Ma should be very slightly used. Some musicians even omit Ma. Without Ma, the raga sounds like raga Triveni.

Shree Tanki is sung with Shree anga. Commencement of this raga is as under-

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

Chalan or rendering of this raga is as indicated below.

ri ri - ग प - प - ग ध प - नि ध प - ग प ग ri - प - नि ri नि ध़ प -

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

In the above chalan it will be noticed that in the end there is a resemblance to Pooria Dhanashree. But the last svaras are प ग ri - ri स which sound like Shree.

Compositions in Shree Tanki are,

Hari Hari Kara Mana--Trital (Madhya).

Sumarana Kara Maniya--Sultal (Madhya).

Hindustani ragas Deepak (Poorvi That), Triveni and Pooria Dhanashree resemble Shree Tank in certain sancharas.

Karnatak

There is no raga called Shree Tanki or Tanki in Karnatak sangeet. Deepaka, a janya of the 51st Melakarta Kamavardhini (Poorvi That) resembles Shree Tanki to some extent. Aroha and avaroha of Deepaka are,

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

(See Deepaka).

SHREEVANTI

Hindustani

This rare raga belongs to Todi That (Shubhapanthuvrarali). Its jati is Audava-Shadava. Ri and Dh are omitted in aroha. In avaroha Dh is not used. Aroha and avaroha are,

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

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

Vadi is Pa and Samvadi Sa. This is a raga for the evening. Pakad or Gunjan svara groups are,

नि स - म ग म - प ग - नि स.

A composition in Shreevanti is,

Jag Jag Mans Hua—Tri Taḷ—Y. D. Bhatt.

Allied Hindustani ragas are, Mooltani, Madhuvanti, Hemavanti and Jayavanti.

Mooltani—नि स - ग म प नि स — सं नि ध प - म ग ri स Dh is used in avaroha. Avaroha is Sampoorna (See Mooltani).

Madhuvanti—नि स - ग म प - नि सं — सं नि ध प - म - ग ri स Ri and Dh are Tivra. Avaroha is Sampoorna (See Madhuvanti).

Hemavanti—स ri म प - ध नि सं — सं नि ध प म ग ri स Ri used and Ga omitted in avaroha. Avaroha is Sampoorna.

Jayavanti—स ri ग - म प सं — सं ख प - म ग ri स Dh and Ni omitted in aroha. Ni not used in avaroha (See Jayavanti).

Karnatak

There is no Karnatak raga called Shreevanti. Vijayashree, which is a janya of the 47th Melakarta Suvarnangi (ra, gi, mi, dhi, nu) resembles Shreevanti of Hindustani. Aroha and avaroha of Vijayashree are,

स ri ग म प नि सं — सं नि प म ग ri स.

In Vijayashree Ri is used in aroha also (See Vijayashree).

SHRUTIRANJANI

Hindustani

There is no Hindustani raga called Shrutiranjani, nor one which resembles any of the types of this rare Karnatak raga.

Karnatak

There are two types of Shrutiranjani. Type I is derived from the 61st Melakarta Kanthamani (ri, gu, mi, dha, na). Its jati is Sampoorna-Sampoorna. This is a Nishadantya raga. Its aroha and avaroha are,

स ri ग म प ध1 नि1 — नि1 ध1 प म2 ग ri2 स or ग2 ल ri2 स.

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

स ri गं प ध ध - घ ध पं ध ri म or ग ri ध म.

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

Type II is a janya of the 36th Melakarta, Chalanata (ru, gu, ma, dhu, nu). Its jati is Shadava-Svarantara. In aroha Ma is not used. In avaroha, Ni, Dh and Ri are omitted. Aroha and avaroha are,

स ri3 ग3 प ध2 नि3 सं — सं प म2 ग3 स.

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

स ग ग प नि सं — सं प म ग स.

Komal Ga (ग) represents Shataruti Ri and Komal Ni (नि) represents Shatsruti Dha.

The following composition of Tyagaraja is meant to be sung in Type I Shrutiranjani which is derived from Kanthamani Melakarta.

Yedari Sancharitura (Telugu)—Adi Taḷa—Tyagaraja.

SHUBHAPANTUVARALI

Hindustani

There is no Hindustani raga called Shubhapantuvarali. It corresponds to Todi That of Hindustani sangeet (See Todi).

Karnatak

Shubhapantuvarali is the 45th Melakarta (ra, gi, mi, dha, nu) which corresponds to Todi That of Hindustani sangeet. Its

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old name is Shivapantúvarali. Shubhapantuvarali is a

Sampoorna–Sampoorna raga having the following aroha and

avaroha.

स ri2 ग2 म2 प ध1 नि3 सं—सं नि3 ध1 प म2 ग2 ri1 स.

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

Suddha 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 ri स.

The following compositions are popular.

Nepogada Gunte (Telugu)—Jhampa Tala—Tyagaraja.

Noremi Shri Rama (Telugu)—Adi Tala—Tyagaraja.

There has been some confusion regarding the names

Shubhapantuvarali, Pantuvarali, Varali and Kamavardhini.

Kamavardhini is called by some as Pantuvarali and

Subhapantuvarali as Varali.

Shubhapantuvarali and Kamavardhini are two different

Melakartas. Hence today Pantuvarali and Varali stand for

Shubhapantuvarali. Old Pantuvarali is now called by its

proper name Kamavardhini, 51st Melakarta.

It may be pointed out that there is another type of Varali

which is a janya of Jhalavarali, 39th Melakarta.

SHUDDHA BANGALA

Hindustani

There is no Hindustani raga called Shuddha Bangala.

Aroha and avaroha of this Karnatak raga are,

स ri म प ध सं—सं ध प म ri ग ri स.

Raga Manohari of Hindustani sangeet has some resemblance

to Shuddha Bangala. Aroha and avaroha of raga Manohari are,

स ri स—ri ग—म प ध सं—सं ध प—म ग ri—स.

In Manohari Ga is used in aroha (See Manohari).

Aroha of Shuddha Bangala resembles that of raga Durga of

Bilaval That (See Durga).

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Karnatak

Shuddha Bangala is derived from the 22nd Melakarta

Kharaharapriya (ri, gi, dhi, ni) which corresponds to Kafi

That of Hindustani sangeet. Jati of this raga is Audava-

Shadava. In aroha Ga and Ni are omitted. In avaroha Ni

is not used. There is a vakra sanchara ri ग ri स in avaroha.

Aroha and avaroha of Shuddha Bangala are,

स ri2 म1 प ध2 सं—सं ध2 प म1 ri2 नि2 स.

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma

and Chatusruti Dh. According to Hindustani notation, the

aroha and avaroha are,

स ri म प ध सं—सं ध प म ri ग ri स.

Shuddha Bangala is a very pleasing and popular raga.

The following compositions in this raga are very popular.

Ramabhakti Samrajya (Telugu)—Adi Tala—Tyagaraja.

Tolinejesina Pooja Phala (Telugu)—Adi Tala—Tyagaraja.

Karnatak ragas Manohari and Durbar have some

resemblance to Shuddha Bangala.

Manohari–Ga is used in aroha (See Manohari).

Durbar–Ni is used in both aroha and avaroha (See Durbar).

SHUDDHA BHAIRAVI

Hindustani

Shuddha Bhairavi is the name given to raga Bhairavi which

is sung in the pure form using only Komal svaras. It belongs

to Bhairavi That (Hanumatodi). Its jati is Sampoorna-

Sampoorna. Aroha and avaroha of Shuddha Bhairavi are,

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

(See Bhairavi).

At the present day all svaras Komal and Tivra are used

while singing Bhairavi. This kind of Bhairavi called “Dvadashi

Bhairavi”, on account of all the twelve notes being used for

rajakatva, is more popular. This Bhairavi with twelve notes

is strictly speaking “Ashuddha Bhairavi”.

Karnatak raga Todi which is derived from the 8th Melakarta Hanumatodi has the same svaras as Shuddha Bhairavi. A composition in Shuddha Bhairavi is, Bhavani Dayani–Jhap Tal (Madhya).

Karnatak

There is a raga called Shuddha Bhairavi in Karnatak sangeet, which is a rare raga. It is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani sangeet. Its jati is Shadava-Shadava. In its aroha Ri is omitted. In avaroha Pa is not used.

Aroha and avaroha of Shuddha Bhairavi are,

स ri म1 प नि2 ध2 सं - सं नि2 ध2 म1 ग2 ri 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 ग म प नि ध सं - सं नि ध म ग ri स.

This is a pleasing raga but not a popular one. A composition in this raga is, Vihara Manasa Sada (Sanskrit)–Adi Tala–Swati Tirunal.

Hindustani raga Bageshree has some resemblance to Shuddha Bhairavi of South (See Bageshree). Karnatak raga Ritigaula has some resemblance to Shuddha Bhairavi. Aroha and avaroha of Ritigaula are,

स ग ri ग म नि ध म नि ड सं - सं नि ध म ग म प ग ri स.

In Ritigaula Pa is used in avaroha. In Shuddha Bhairavi Pa is used in aroha (See Ritigaula).

SHUDDHA BHIM

Hindustani

There are two types of Shuddha Bhim.

TYPE I

Jati is Sampoorna-Sampoorna. In aroha Ri and Dh are omitted. Aroha and avaroha of this type are,

नि स - ग म प - नि नि प - सं - नि घ प - ध म प - ग ri स.

Pakad or Gunjan svara groups are,

नि म प - सं - नि घ प म प - प - घ - म प नि ri स.

TYPE II

Jati is Chatusvari-Sampoorna. Ri, Ga, and Dh, are omitted in aroha. Aroha and avaroha of this type are,

नि स - म म प - नि स - सं नि घ प - प म ri स.

Pakad svaras consist of,

प घ - प ध - म प - ध म - प ग - ri स.

In both the types excepting Ni which is Komal all other svaras are Suddha svaras of Hindustani sangeet. In both types Vadi is Sa and Samvadi Pa. The reverse combination is also suggested by some.

Shuddha Bhim is not a popular raga. A composition in this raga is, Paranapayo Tero Mahima–Tri Tal (Madhya).

Raga Bhimpalas resembles Shuddha Bhim. In Shuddha Bhim vakra sancharas in both aroha and avaroha are characteristic.

Karnatak

There is no raga called Shuddha Bhim in Karnatak sangeet nor one which resembles either types of Shuddha Bhim of Hindustani sangeet.

SHUDDHA BIBHAS

Hindustani

There are two types of Shuddha Bibhas. One type is better known under the name Lalitha Gauri (See Lalitha Gauri). The second type uses Tivra Ri and Tivra Dh instead of Komal Ri and Komal Dh which are used in Shuddha Bibhas of Bhairav That.

Svaroop of the second type resembles that of raga Jait. Aroha and avaroha of this type are,

स ri ग प ध सं - सं घ प ग ri स.

Svaras used are all Suddha svaras of Hindustani sangeet. In Shuddha Bibhas Ri is not prominently used in aroha. It is even avoided giving rise to sanchara स ग प. Svaroop of

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RAGANIDHI

Shuddha Bibhas consists of स रे ग - ग प - ध नि - प ध सं - ध स - प ग रि स. This is not a popular raga. A composition in this type of Shuddha Bibhas is,

Raina Gavge Aye Ho--Dhamar of 10 Matras

--Lakshminarayana Garg.

This type of Shuddha Bibhas resembles ragas Bhoop, Deshkar, Jait and Audava-Deogiri.

Karnatak

There is no raga called Shuddha Bibhas in Karnatak sangeet. Raga Mohana has the same aroha and avaroha as Shuddha Bibhas type described above (See Mohana.)

SHUDDHA BILAVAL

Hindustani

Shuddha Bilaval belongs to Bilaval That (Dheerasankara-bharana). There are two types of Shuddha Bilaval--(i) Sampoorna-Sampoorna jati having the following aroha and avaroha--

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

(ii) Shadava-Sampoorna jati having the following aroha and avaroha.

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

All svaras are Suddha svaras. Vadi is Dh and Samvadi Ri. This raga is called the Kalyan raga of morning. This is not a poptlar raga. Compositions in this raga are,

Rabaso Neha Laga Manava--Trital--Rararang.

Prate Uthi Aye Ri Lalani--Choutal.

Karnatak

There is no raga called Shuddha Bilaval in Karnatak sangeet. Raga Shankarabharana which is one of the most popular Karnatak ragas corresponds to Sampoorna-Sampoorna type of Shuddha Bilaval. Aroha and avaroha of Shankarabharana are,

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

(See Shankarabharana).

SHUDDHA DESHI

Hindustani

There is no Hindustani raga called Shuddha Deshi. There is the raga called only Desi, Deshi, or Deshi Todi. This has no resemblance to the Karnatak raga Shuddha Deshi. Hindustani raga Jeevanpuri resembles Shuddha Deshi of Karnatak sangeet. Jeevanpuri has the following aroha and avaroha.

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

(See Jeevanpuri).

In actual practice in the compositions which are sung, Tivra Dh is used in aroha in Shuddha Deshi of South. Hence its present svaroop becomes different from Jeevanpuri.

Karnatak

Shuddha Deshi is a janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which corresponds to Asavari That of Hindustani sangeet. Jati of Shuddha Deshi is Shadava-Sampoorna. Ga is omitted in aroha. Aroha and avaroha of Shuddha Deshi are,

स रि₂ म₁ प ध₁ नि₂ सं - सं नि₂ ध₁ प म₁ ग₂ रि₂ स.

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

The above aroha and avaroha correspond with those of Jeevanpuri of Hindustani sangeet (See Jeevanpuri).

Raga chaya svaras are Suddha Ma, and Chatusruti Dha in aroha. It should be noted that in aroha although Suddha Dha should be used, still in practice Chatusruti Dha is used as in ragas Bhairavi and Mukhari of South.

The following compositions in this raga are sometimes heard.

Yendu Kougilintura (Telugu)--Adi Tala--Tyagaraja.

Raghunandana Raja Mohana (Telugu)--Adi Tala

--Tyagaraja.

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SHUDDHA DESHI

114

According Dikshitar school Shuddha Deshi is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That. Its jati is Shadava-Sampoorna. Ga is omitted in aroha. Aroha and avaroha of this type of Shuddha Deshi are,

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

There are vakra sancharas in aroha and avaroha. According to Hindustani notation the aroha and avaroha are,

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

A composition in this type of Shuddha Deshi is, Urikrita Jana Bhoorikrita–Jhampa Tala–Venkatamakhi. This type of Shuddha Desi resembles raga Sindhura of Hindustani Sangeet.

SHUDDHA DHANYASI

Hindustani

There is no raga called Shuddha Dhanyasi in Hindustani sangeet. Raga Dhani of Hindustani sangeet which has the same aroha and avaroha corresponds to the raga Shuddha Dhanyasi of Karnatak sangeet. Aroha and avaroha of raga Dhani are,

स ग् म प नि सं — सं नि प म ग् स (See Dhani).

Karnatak

Shuddha Dhanyasi belongs to the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani sangeet. Jati of Shuddha Dhanyasi is Audava-Audava. Ri and Dh are not used in this raga. Aroha and avaroha of Shuddha Dhanyasi are,

स ग2 म1 प नि2 प से—सं नि3 प म1 ग2 स.

Svaras used are Sadharan Ga, Suddha Ma, and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are,

स ग् म प नि प सें — सं नि प म ग् स.

There is a Vakra sanchara in aroha.

115

In Shuddha Dhanyasi halts are made on Ma as ग म S. In Udayaravichandrika emphasis is on Panchama and there is andolan on Ga as ग म ऽ S. Following Kritis in Shuddha Dhanyasi illustrates this difference between the two ragas clearly.

Subramhanyena Rakshitoham (Sanskrit)–Adi Tala —Muttuswamy Dikshitar.

Shuddha Dhanyasi is a very popular raga. The following compositions are favourites.

Enta Nerchina Enta Joochina–Adi Tala–Tyagaraja.

Himagiri Tanaye–Adi Tala–Muthiah Bhagavataar.

Karnatak raga Udayaravichandrika resembles Shuddha Dhanyasi very closely. There is no vakra sanchara in aroha in Udayaravichandrika. That is the only difference. Often both the names are used for the same raga (See Udayaravichandrika).

SHUDDHA KALYAN

Hindustani

Shuddha Kalyan is also called Bhoop Kalyan, a very appropriate name considering the fact that the raga is formed by the combination of the two ragas Bhoop and Kalyan. But the name Shuddha Kalyan has become popular for this raga. Why (as in the case of many other ragas) it is called "Shuddha" is not known.

Shuddha Kalyan belongs to Kalyan That. Its jati is Audava-Sampoorna. In aroha Ma and Ni are omitted. Aroha and avaroha of Shuddha Kalyan are,

स — ri ग — प ध सं — से — नि ध प — म ग — ध प नि ri स.

All svaras are Tivra svaras. Pakad or diagnostic svara groups are,

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

Vadi is Ga and Samvadi Dh. This raga is sung during the first prahara of night. In this raga svaras of aroha are those of Bhoop. Avaroha consists of those of Kalyan.

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RAGANIDHI

This is a poorvanga raga. The sanchara in Mandra and Madhya saptaks is beautiful. Although Ni and Ma are used in avaroha they are not used prominently. They are taken in meend and kept hidden particularly in alaps. While taking rapid tanas Ma and Ni are used straight in avaroha as it is unavoidable.

Beauty of this raga lies in the svaras of mandra saptak and in the meends in regard to Ni and Ma. Meends and प मं ग sound beautiful.

Some musicians sing Shuddha Kalyan without using Ma and Ni even in avaroha. This requires great skill as it is likely to sound like Bhoop only. Shuddha Kalyan is a majestic raga and is very popular.

Compositions in Shuddha Kalyan are,

Bolana Lagee Pihari—Ek Tal (Vilambit).

Bajore Bajo Mandarawa—Tri Tal (Madhya).

Hindustani ragas Bhoop and Chandrakant are allied to Shuddha Kalyan.

Bhoop—Ma and Ni are not used. (See Bhoop).

Chandrakant—Ni is used in aroha also (See Chandrakant).

Karnatak

There is no raga called Shuddha Kalyan in Karnatak sangeet. There is a raga called Mohana Kalyani which corresponds to Shuddha Kalyan of Hindustani.

Name Mohana Kalyani, like Bhoop Kalyani, suggests that it is a combination of two Karnatak ragas Mohana and Kalyani. Raga Bhoop corresponds to Mohana and Kalyani of South are identical. Hence Mohana Kalyani resembles Shuddha Kalyan very closely. Aroha and avaroha of Mohana Kalyani are,

स ri ग प ध सं — सं नि ध प म ग ri स.

(See Mohana Kalyani).

shuddha lalitha

117

SHUDDHA LALITHA

Hindustani

There is no Hindustani raga called Shuddha Lalitha. This is an interesting raga.

Karnatak

This rare raga is a janya of the 11th Melakarta Kokilapriya (ra, gi, ma, dhi, nu). Its jati is Audava-Sampoorna. In aroha Ri and Ga are omitted. There is vakra sanchara in both aroha and avaroha. Aroha and avaroha are,

स ri1 ग ri2 म1 ध1 — स नि2 ध2 प म1 ग ri1 स.

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

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

A composition in Shuddha Lalitha is,

Sree Chakrapuravasini (Sanskrit)—Adi Tala

—Jayachamaraja Wadiyar.

SHUDDHA MALHAR (Bilaval That)

Hindustani

There are two types of Shuddha Malhar—one belonging to Bilaval That and the other to Khamaj That. Suddha Malhar of Bilaval That is an Audava-Audava raga. Ga and Ni are omitted completely. Aroha and avaroha of this raga are,

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

Svaras used are Tivra Ri, Suddha Ma and Tivra Dh. Pakad or Gunjan svara groups are,

स ri म — म प — ति प — सं ध सं — ध प म — स ri म.

Vadi is Ma and Samvadi Sa. Some suggest reverse combination. Important svara groups are स ri म S in poorvanga and म प ध सं ध प in uttaranga. In this raga there are chayas of ragas Goud Malhar and Durga. Elongation of Ma is

important in this raga. Compositions in Shuddha Malhar of Bilaval That are,

Bara Khaku Ritu–Ek Tal (Vilambit).

Barasan Lagee–Tri Tal (Drut).

Hindustani ragas Durga, Jaladhar Kedar and Goud Malhar resemble Shuddha Malhar of Bilaval That.

Durga–Svara groups used are different. स रि म स is not used (See Durga).

Jaladhar Kedar–Kedar touch is given while rendering म प म S–स रि म S. Svara group स रि म म is used and not स रि स S.

(See Jaladhar Kedar).

Goud Malhar–Ni and Ga are used (See Goud Malhar).

Karnatak

There is no Karnatak raga called Shuddha Malhar. Raga Shuddha Saveri of Karnatak sangeet uses the same svaras as those in Shuddha Malhar. But svaroop of Shuddha Saveri resembles more of Durga of Hindustani sangeet than Shuddha Malhar of Bilaval That (See Shuddha Saveri).

SHUDDHA MALHAR (Khamaj That)

Hindustani

Shuddha Malhar belonging to Khamaj That is a Shadava–Sampoorna raga. Ga is not used in aroha. Aroha and avaroha of Shuddha Malhar of Khamaj That are,

स -रि म -रि स -प -नि घप -नि सं -नि ध -न-

म प -ग म रि -स रि म -प निस घ प -म ध -नि रि स.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. In this raga there are chayas of ragas Malhar and Narayani as under.

Malhar–म रि प -नि ध नि सं.

Narayani–रि म -प निस ध प -म ध रि s.

Use of नि ध ग and svara groups ग म प म ग म -ग म रि have special effects of Khamaj chaya.

A composition in this raga is,

Garajata Aye Badarwa–Jhaptai (Madhya)–Rajaram Shukla.

Hindustani raga Sur Malhar resembles Shuddha Malhar of Khamaj That.

Sur Malhar–Ga is not used (See Sur Malhar).

Karnatak

There is no Karnatak raga called Shuddha Malhar nor one which resembles the above raga belonging to Khamaj That of Hindustani sangeet.

SHUDDHA NATA

Hindustani

This rare raga belongs to Bilaval That (Dheerasankara–bharana). Its jati is Sampoorna–Audava. In avaroha Dh and Ga are omitted. Aroha and avaroha are,

स रि ग म प ध नि सं - स घ प म रि स.

Svaras used are all Suddha svaras of Hindustani. Occasionally Komal Ni is used with Dh as in Alaiyya Bilaval–ध नि प. Vadi is Ma and Samvadi Sa. This is a night raga.

It has Veera rasa. Svaroop of Shuddha Nata is under.

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

ग म ध प - रि ग प म - ग म रि स. Ma should be shown prominently with Ga as स - ग म - म ग प म - ग म - रि ग म etc.

This raga is considered to be a mixture of Chaya, Kamod and Alaiyya Bilaval ragas. A composition in Shuddha Nata is,

Karata Ho Mose Neha Ki–Ek Tal (Vilambit).

Karnatak

Shuddhanata is a janya of the 36th Melakarta Chalanata (ru, gu, ma, dhu, nu). There are two types. (1) Shadava–Sampoorna. Ri is not used in aroha. (2) Shadava–Shadava. Ri is omitted in aroha and Ga is not used in avaroha. Aroha and avaroha of the two types are,

TYPE I

स ग3 म1 प निस ध3 नि सं - सं नि3 ध3 प म1 ग3 रि3 स.

120

RAGANIDHI

Type II

स ग3 म1 प निस घ3 निस - सं निस घ3 प म1 रि3 स.

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

Shatsrruti Dh and Kakali Ni. According to Hindustani

notation the aroha and avaroha are,

Type 1. स ग म प निस निस - सं निस प म ग रि स.

Type 2. स ग म प निस निस - सं निस प म ग रि स.

In the above, Komal Ga (ग ) represents Shatsruti Ri (रि2)

and Komal Ni (निस ) represents Shatsruti Dh (ध3) of Karnatak.

This is not a popular raga. Some people call Gambhiranata

as Shuddhanata. It is a mistake (See Gambhiranata).

Karnatak raga Shuddhanata has no resemblance to the

Hindustani raga of the same name.

Both types of Karnatak Shuddhanata have a Malhar Chaya

in uttaranga. Type 1 has Chaya of Hindustani raga Jog in

poorvanga of avaroha (See Mia Malhar and Jog).

SHUDDHA SALAVI

Hindustani

There is no Hindustani raga called Shuddha Salavi. This

raga is a combination of Dhani and Sarang ragas in aroha and

avaroha respectively. The aroha and avaroha are,

स ग2 म प निस - सं निस प म रि स.

(See Dhani and Sarang).

Karnatak

Shuddha Salavi is a janya of the 20th Melakarta

Natabhairavi (ri, gi, ma, dha, ni), which corresponds to

Hindustani Asavari That. Its jati is Audava-Audava. In

aroha Ri and Dh are not used. In avaroha Dh and Ga are

omitted. Aroha and avaroha are,

स ग2 म1 प निस - सं निस प म1 रि2 स.

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SHUDDHA SARANG

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

and Kaisiki Ni. According to Hindustani notation, the aroha

and avaroha are,

स ग2 प निस - सं निस प म रि स.

A composition in this rare raga is,

Sugyana Dayineem Vande (Sanskrit)—Adi Tala

—Jayachamaraja Wadiyar.

Aroha of this raga consists of Udayaravichandrika and

avaroha of Madhyamavati.

Hindustani

Shuddha Sarang belongs to Kafi That (Kharaharapriya).

Its jati is Audava-Shadava. Ga and Ni are omitted in aroha.

In avaroha Ga is dropped. There are two arohas and avarohaas

for this raga as under,

स रि - म ग प - निस - सं निस प - सं प ग प - म रि - स.

and

स रि - प म ग प - म प निस - सं निस प म रि - म निस.

In the first aroha both Komal and Tivra Ma are used. In

the second aroha only Tivra Ma is used. All other svaras are

Tivra only. Some touch of Komal Ni is found in avaroha in

the sanchara सं निस प - म ख प म रि. Vadi is Ri and Samvadi Pa.

This raga is sung during the second prahara of the day.

Halt on Ri and Ni sounds beautiful. Both Madhyams are

used side by side in avaroha as म प म रि. Ni as Nyasa is very

pleasing. In the svara group निस घ म प svaras घ स are quickly

uttered. This creates a special effect in this raga. If it is not

done but uttered slowly then it will sound like Shyam Kalyan.

Shuddha Sarang is a raga which has become popular during

the last thirty years. Pandit Bhatkhande has stated in his book

"Hindustani Sangeet Paddhad" that this raga is not known to many musicians. Today however it is one of the most popular ragas.

Svaroop of Shuddha Sarang given by Prof. Bhatkhande is also different from its present day svaroop. Popular compositions in this raga are,

Ab Mori Bat--Tri Tal (Madhya).

Hari Hari Hari Kahi Manale--Tri Tal (Madhya)

—Shankarao Vyas.

Jare Boura Dur--Tri Tal (Madhya)

Hindustani ragas Shyam Kalyan and Noor Sarang resemble Shuddha Sarang.

Shyam Kalyan--In aroha, only Tivra Ma is used. Ga is used.

Svara group नि ध सं प ध नि प should be alowly uttered.

(See Shyam Kalyan).

Noor Sarang--Shuddha Ma is not used (See Noor Sarang).

Karnatak

Shuddha Saranga of Karnatak sangeet is a janya of the 62nd Melakarta Rishabhapriya (ri, gu, mi, dha, ni). Jati of Shuddha Sarang is Audava-Shadava. Ri and Dh are not used in aroha. In avaroha Ni is omitted. Aroha and avaroha of Karnatak Shuddha Saranga are,

स ri म प ध सं — सं घ प म ri स.

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

सा मे प नि सं — सं ध प म1 ri स.

From the above aroha and avaroha it is seen that the Karnatak Shuddha Saranga has no resemblance to Shuddha Sarang of North.

Shuddha Saranga is not a popular raga. There are no compositions in this raga.

SHUDDHA SAVERI

Hindustani

There is no raga called Shuddha Saveri in Hindustani sangeet. Raga Durga of Bilaval That has the same svaras in aroha and avaroha as raga Shuddha Saveri of Karnatak sangeet. Aroha and avaroha of Durga are,

स ri म प ध सं — सं घ प म ri स.

(See Durga of Bilaval That).

Karnatak

Shuddha Saveri is a janya of the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bilaval That. Its jati is Audava-Audava. Ga and Ni are omitted. Aroha and avaroha of Shuddha Saveri are,

स ri2 म1 प ध2 सं — सं ध2 प म1 ri2 स.

Svaras used are Chatusruti Ri, Shuddha Ma and Chatuaruti Dh. According to Hindustani notation the aroha and avaroha are,

स ri म प ध सं — सं ध प म ri स.

This is a popular raga. The following compositions are often heard.

Dari Ne Telusu Konti (Telugu)—Adi Tala -Tyagaraja.

Kalaharana Melara Hare (Telugu)—Rupaka Tala

—Tyagaraja.

Shuddha Saveri corresponds to Durga of Bilaval That of Hindustani sangeet.

Shuddha Saveri of Dikshitar school is a janya of the 1st Melakarta Kanakangi.

Aroha and avaroha, according to this school are--

स s ri1 म1 प ध1 सं s — सं s ध1 प म1 ri1 स.

According to Hindustani notation they are,

स s ri म प ध़ सं s — सं s ध़ प म ri़ स.

A composition is,

Ekamresha Nayaki (Sanskrit)—Adi Tala

—Muttruswamy Dikshitar.

Parthasarathe (Sanskrit)—Rupaka Tala—S. Ramanathan.

Shuddha Saverī of Tyagaraja school is known as Devakriya by the Dikshitar school. Shuddha Saverī of Dikshitar school is also called Latantapriya.

SHUDDHA SEEMANTINI

Hindustani

There is no Hindustani raga called Shuddha Seemantini. If Nī is omitted in the raga Bilaskhanī Ṭodi then a rāga resembling Shuddha Seemantini of Karnatak sangeet is obtained. Aroha and avaroha of raga Bilaskhanī Ṭodi are as under.

स रि₁ ग म ध स - नि ध म - ग रि - ग रि - स.

(See Bilaskhanī Ṭodi).

Karnatak

Shuddha Seemantini is a janya of the 8th Melakarta Hanumatodi (ra, gī, ma, dha, nī) which corresponds to Bhairavī Thāṭ of Hindustani sangeet. Jati of this rāga is Shadava-Shadava. Nī is omitted in both aroha and avaroha.

Aroha and avaroha of this raga, are,

स रि₁ रि₂ म₁ प ध₁ सं - सं ध प म₁ ग₂ रि₁ स.

According to Hindustani notation they are,

स रि ग म प ध सं - सं ध प म ग रि स.

The following composition in raga Shuddha Seemantini is fairly popular.

Janakī Ramana Bhakta Parijata (Telugu)--Adī Tāla -Tyagaraja.

SHUDDHA SOHONI

Hindustani

Shuddha Sohoni belongs to Bhairav Thāṭ (Mayamalavagaula). Its jati is Audava-Shadava. Rī and Pa are omitted in aroha. In avaroha only Pa is dropped.

Aroha and avaroha of raga Shuddha Sohoni are,

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

Svaras used are Komal Rī, Tivra Ga, Suddha Ma, Tivra Dh and Tivra Nī. Shuddha Sohoni is obtained by replacing the Tivra Ma of Sohoni with Komal Ma.

Shuddha Sohoni is a rare raga. It is a very pleasing raga and deserves to be popularised. Sanchara of Shuddha Sohoni is as under.

स - नि ध - नि ध - म ग - म ध नि सं - रि रि सं नि ध - म ध - नि सं म ध - नि सं रि सं - ग रि सं - सं ति सं - ध सं - ग सं - में ग रि सं - म ध नि सं नि ध - म ग - म ग रि स.

Sometimes sangati ध म may also be used. A composition in this rāga is,

Udho Harnari Nek Binati--Jhaptāl (Madhya).

Karnatak

There is no raga called Shuddha Sohoni in Karnatak sangeet. Karnatak raga Lalitha which is a janya of the 17th Melakarta Suryakanta corresponds to this Hindustani raga. Aroha and avaroha of Karnatak raga Lalitha are as under.

स रि₁ ग म ध नि सं - सं नि ध म ग रि स.

(See Lalitha).

SHUDDHA TODI

Hindustani

There is no raga called Shuddha Todi in Hindustani sangeet. If Pa is omitted from Shuddha or Shastra Bhairavī (in which only Komal svaras are used) then a raga corresponding to the Karnatak raga Shuddha Todi is obtained. Shuddha Bhairavī has the following aroha and avaroha.

स रि₁ गू म प ध नि सं - सं नि ध प म ग रि स.

(See Shuddha Bhairavi).

Karnatak

Shuddha Todi belongs to the 8th Melakarta Hanumatodi (ra, gī, ma, dha, nī) which corresponds to Bhairavī Thāṭ of Hindustani sangeet. Jati of Shuddha Todi is Shadava-Shadava. Pa is omitted. Aroha and avaroha of this raga are,

स रि₁ ग₂ म₁ ध₁ नि₂ सं - सं नि₂ ध₁ म₁ ग₂ रि₁ स.

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

While rendering raga Todi if sancharas are taken omitting Pa then a Shuddha Todi effect results. Raga Shuddha Todi is rarely sung. While singing raga Todi Pa is not used for some length of time in the sancharas thus creating a Shuddha Todi effect. The following compositions in Shuddha Todi are available.

Matanga Kanyam (Sanskrit)—Khanda Triputa Tala—Jayachamaraja Wadiyar.

Sama Gana Lola Nannu Brovoo (Telugu)—Mishra Chapu—C. Venkatanarayana Charlu.

SHUDDHA VASANTA

Hindustani

There is no Hindustani raga called Shuddha Vasanta nor one which corresponds to this Karnatak raga. In the avaroha of this raga there is a chaya of Mand of Hindustani sangeet in the svara groups स नि ध म and म रि ग स. Aroha has the svaras of Shuddha Bilaval.

Karnatak

Shuddha Vasanta is a janya of the 29th Melakarta Dheera-sankarabharana (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of Hindustani sangeet. Its jati is Sampoorna-Sampoorna with vakra sancharana in avaroha. Aroha and avaroha of Shuddha Vasanta are,

स रि2 ग3 म1 प ध2 नि3 — स नि3 ध2 म1 ग3 प म1 रि2 ग3 स or स नि3 ध2 प म1 रि2 स.

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

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

Shuddha Vasanta is not a popular raga. The following composition is available.

Somasundareshwaram (Sanskrit)—Adi Tala—Muttuswamy Dikshitar.

SHUKLA BILAVAL

Hindustani

Shukla Bilaval belongs to Bilaval That. (Dheerasankara-bharana). Its jati is either Shadava-Sampoorna or Sampoorna-Sampoorna. Aroha and avaroha are,

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

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

In the first type Ri is omitted in aroha. Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dha and both Komal Ni and Tivra Ni. Tivra Ni is used in aroha and Komal Ni in avaroha.

In this raga there is chaya of Goud Malhar. Sangati स ग is repeatedly used. Bilaval anga is kept prominent. Sancharana of the raga is as under.

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

Halt is made on Ma and it sounds beautiful. It is an uttaranga raga and hence its beauty lies in the avaroha. Vadi is Ma and Samvadi Sa.

It is believed that this raga is obtained by mixing Bilaval and Kedar ragas. This is a morning raga. Compositions in Shukla Bilaval are,

Tu Hi To Palana Har—Tilwada (Madhya).

Kala Na Parata Mohe—Jhaptai (Madhya).

Karnatak

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

128

RAGANIDHI

SHULINI

Hindustani

There is no Hindustani raga called Shulini.

Karnatak

Shulini is the 35th Melakarta (ru, gu, ma, dhi, nu). Its

old name is Shaila Deshakshi. Shulini is a Sampoorna-

Sampoornaraga. Its aroha and avaroha are,

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

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

Chatusrruti Dhi and Kakali Ni. According to Hindustani

notation the aroha and avaroha are,

स ग, रे प ध नि सं – सं नि ध प म ग रे स.

In above Komal Ga (ग,) represents Shatsruti Ri (रे) of

Karnatak system.

A composition in this raga is,

Nalina Nayanani Namostute (Sanskrit) Rupaka Tala

—Balamuralikrishna.

Paramukham Deno (Tamil)—Adi Tala—Kotishwara Iyer.

SHYAMA

Hindustani

Some are of the opinion that raga Shyama is different from

Shyama Kalyan but they are unable to give the svaroop of

Shyama as a different raga. Others are of the opinion that

the above two ragas are identical. It may be that Shyama

stands for the raga called Shyama or Sama in Karnatak sangeet

(See Sama).

Karnatak

There is a raga called Shyama which is popularly known

as Sama (See Sama).

Karnatak raga Shyama Kalyani is different from Shyama

or Sama. Shyama is described under Sama (See Sama).

129

SHYAM KALYAN

Hindustani

Shyam Kalyan belongs to Kalyan That (Mechakalyani).

Its jati is Audava-Sampoorna. Ga and Dh are omitted in

aroha.

Aroha and avaroha of Shyam Kalyan are,

नि स रि – म1 – नि सं – सं नि ध – म प म रि – ग म रि – ग नि स.

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

Prati Ma, Tivra Dhi and Tivra Ni.

Pakad or diagnostic svara groups are,

ग म रि - नि स - रि स - म स ग स.

Vadi is Pa and Samvadi Sa. Some suggest Sa and Ma

as Vadi and Samvadi svaras. Some suggest Ri as Vadi.

Sangatirि म and म रि are frequently used. This raga is sung

during the first prahara of night. This raga is a mixture of

Hamir, Goud Sarang, Kedar and Kamod ragas. But the

chaya of Kamod is stronger than those of other ragas mentioned.

In aroha only Tivra Ma is used. Ga is used in a vakra

fashion as ग म रि. In Kamod Ga and Ni are weak. In Shyam

Kalyan they are fairly prominent. Halt on Ri is beautiful and

characteristic of this raga--म रि स – रि स.s. Sangatि म रि gives

a chaya of Malhar. But in Malhar Ni is prominent.

Commencement of this raga is as under,

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

Chalan is as under,

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

ग म रि - नि स.

Shyam Kalyan is a very pleasing and popular raga.

Compositions in this raga are,

Jeeya More Lala Banara—Tri Tal (Vilambit).

Suno Aho Shyam Itani Mori Bat—Jhaptal (Madhya).

130

RAGANIDHI

Hindustani raga Shuddha Sarang has close resemblance to Shyam Kalyan. Raga Kamod has some resemblance to it.

Shuddha Sarang–Ga is not used. Halt or Ni is beautiful. (See Shuddha Sarang).

Kamod–Sangati is used and not . Svaragroup is used and not . (See Kamod).

Karnatak

Shyama Kalyani belongs to the 12th Melakarta Rupavati (ra, gi, ma, dhu, nu). Its jati is Shadava-Sampoorna. Ri is omitted in aroha. Aroha and avaroha of Shyama Kalyani are,

स म1 ग2 म1 प ध3 नि2 सं—नि3 प ध3 नि3 प म1 ग2 रि1 स.

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

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

In the above aroha and avaroha Komal Ni ( ) represents Shatsruti Db ( ) of Karnatak sangeet. There are vakra sancharas in both aroha and avaroha. From the above svaroop it is clear that Shyama Kalyani of South has no resemblance to the Shyam Kalyan of North. Karnatak raga Saranga has some resemblance to Shyam Kalyan of North (See Saranga).

Shyama Kalyani is not a popular raga. There are no compositions in this raga.

SHYAM KEDAR

Hindustani

This raga has been composed by Sri Bhaskarso Ghodke of Nasik. It is a mixture of two ragas Shyam Kalyan and Kedar. Shyam Kedar belongs to Kalyan That (Mechakalyani). Some put it under Khamaj That (Harikambhoji). Its jati is Shadava-Shadava. Ga is not used.

Aroha and avaroha of Shyam Kedar are,

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

131

SHYAMALA

Svaras used are Tivra Ri, both Komal and Tivra Ma, Tivra Dh and both Komal and Tivra Ni. Pakad or Gunjan svara groups are,

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

Vadi is Komal Ga and Samvadi Sa. This raga is sung during the second prahara of night. In this raga Tivra Ma is used in aroha and Komal Ma in avaroha. Only Tivra Ni is used in aroha. In avaroha both Komal and Tivra Ni are used. Komal Ni is used in a vakra way as . Sometimes is also permissable.

Chaya of Shyam Kalyan is found in aroha mostly and that of Kedar in avaroha. In this raga there are chhayas of Shyam Kalyan, Kedar, Sarasvati and Shuddha Sarang. This is a new raga and hence has not gained popularity yet.

Compositions in the raga Shyam Kedar are,

Umanda Ghumanda Aye–Tri Tal (Madhya)—J. D. Patki. Kauna Gama Ki Ri–Tri Tal (Madhya)—J. D. Patki

Karnatak

There is no raga called Shyam Kedar in Karnatak sangeet. If Ga is omitted in the Karnatak raga Saranga then it will sound like Shyam Kedar of North (See Saranga).

SHYAMALA

Hindustani

There is no Hindustani raga called Shyamala.

Karnatak

Shyamala is the old name for the 55th Melakarta Shyamalangi (ri, gi, mi, dha, na). Janya raga Shyamala is derived from the 55th Melakarta Shyamalangi. Its jati is Shadava-Sampoorna. In aroha Ni is omitted. Aroha and avaroha of Shyamala are,

स रि2 ग2 म2 प ध1 सं—सं नि1 ध1 प म2 ग2 रि2 स.

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

132

RAGANIDHI

According to Hindustani notation, the aroha and avaroha are,

स ri ग् g़ म् m प dha सं - सं व् v ध् dh प dha म् m ग् g़ ri स sa.

In above Tivra Dh (dh) represents Suddha Ni (ni1) of Karnatak system.

A composition in this raga is,

Shyamalangi Matangi (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

SHYAMALANGI

Hindustani

There is no Hindustani raga called Shyamalangi.

Karnatak

Shyamalangi is the 55th Melakarta of Karnatak sangeet (ri, gi, mi, dha, na). Its old name is Shyamala. Shyamalangi is a Sampoorna-Sampoorna raga. Its aroha and avaroha are,

स ri ग् g़2 म् m2 प dha1 नि ni1 सं - सं नि ni1 ध् dh1 प dha1 म् m2 ग् g़2 ri स sa.

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

According to Hindustani notation, the aroha and avaroha are,

स ri ग् g़ म् m प ध् dh सं - सं ध् dh प म् m ग् g़ ri स sa.

Compositions in raga Shyamalangi are,

Shyamalangi Jalaja Lochani (Sanskrit)—Jhampa Tala

—Balamuralikrishna.

Kanda Karpaga Taruve—Mishra Chapu—Kotishwa Iyer.

SHYAMALI

Hindustani

There is no raga called Shyamali in Hindustani sangeet. This raga resembles the Karnatak raga Malayamarutha which is becoming popular in Hindustani sangeet.

Karnatak

Raga Shyamali has been coined by Sri C. Rangiah of Mysore. This is a janya of the 16th Melakarta Chakravaka

133

SIDDHASENA

(ra, gu, ma, dhi, ni). Jati of this raga is Audava-Shadava. In aroha Ri and Ma are omitted and in avaroha Ma is not used. Aroha and avaroha of Shyamali are,

स sa ग् g़2 प dha2 नि ni2 सं - सं नि ni2 ध् dh2 प dha2 म् m2 ri1 स sa.

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

स sa म् m प dha नि ni2 सं - सं नि ni2 ध् dh प म् m ri1 स sa.

Shyamali Raga Ranjani (Sanskrit)—Adi Tala—C. Rangiah. Ragas Malayamarutha and Valaji have great resemblance to raga Shyamali.

Malayamarutha—In aroha also Ri is used (See Malaya-marutha).

Valaji—Ri is not used (See Valaji).

SIDDHASENA

Hindustani

There is no Hindustani raga called Siddhasena. This Karnatak raga in certain sancharas sounds like the Hindustani raga Sindhura belonging to Kafi That (Kharaharapriya).

Karnatak

Siddhasena is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani sangeet. Jati of Siddhasena is Shadava-Sampoorna. Ni is not used in aroha. There is vakra sanchara in both aroha and avaroha. Aroha and avaroha of Siddhasena are,

स sa ग् g़2 ri2 ग् g़2 म् m1 प dha सं - सं नि ni2 ध् dh2 म् m1 प dha1 म् m1 ri2 ग् g़2 ri स sa.

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

स sa ग् g़ ri ग् g़ म् m प ध् dh सं - सं नि ni ध् dh प म् m प ri ग् g़ ri स sa.

Siddhasena is not a popular raga. The following composition is sometimes heard.

Yevarina Lera Peddalu (Telugu)—Adi Tala—Tyagaraja.

134

RAGANIDHI

SIMHADHVANI

Hindustani

Simhadhvani belongs to Bhairav That (Mayamalavagaula).

Its jati is Audava-Shadava. Ri and Pa are not used in aroha.

Pa is not used in avaroha. Aroha and avaroha are,

स म ग म ध नि सं — सं नि ध म ग रि स.

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

Komal Dh and Tivra Ni. There is a vakra Sanchara स म ग म

in aroha. Pakad or diagnostic svara groups are, ध्‌ नि सं s

— नि स ग रि स — नि स म s. Vadi is Ma and Samvadi

Sa. There is chaya of Lalit when the svara group नि स म s is

used. This is a morning raga. Compositions in Simhadhvani

are,

Chanda Chanda Chanda Mohe—Ek Tal (Madhya)

J. D. Patki.

Suranga Chunari Mori—Tri Tal (Madhya) J. D. Patki.

Hindustani raga Kalangada resembles Simhadhvani closely.

Kalangada—Pa is used. There is andolan on Ri and Dh.

(See Kalangada).

Karnatak

There is no Karnatak raga called Simhadhvani. Karnatak

raga Lalitha has great resemblance to Simhadhvani of

Hindustani.

Although the aroha and avaroha of Karnatak Lalitha are

as shown under, Ri is omitted in aroha and sanchara s रि ग म

and स म ग म are found.

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

(See Lalitha).

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SIMHALA

Hindustani

There is no Hindustani raga called Simhala nor one which

resembles this Karnatak raga.

Karnatak

Simhala is a janya of the 18th Melakarta Hatakambari, (ra,

gu, ma, dhu, nu). Its jati is Sampoorna-Sampoorna.

Aroha and avaroha of Simhala are,

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

Svaras used are Suddha Ri, Antara Ga, Suddha Ma

Shatsruti Dh and Kakali Ni.

According to Hindustani notation the aroha and avaroha are,

स रि ग म प नि सं — सं नि प म ग रि स.

In the above aroha and avaroha Komal Ni (नि₂) represents

Shatsruti Dh (ध₃) of Karnatak ańgeet. There is vakra sanchara

in avaroha. Simhala is not a popular raga. The following

composition is available.

Nee Pada Mahima Telisi Pogada (Telugu)—Adi Tala

—Tiruvattiyur Tyagayya.

SIMHARAVA

Hindustani

There is no Hindustani raga called Simharava nor one

which resembles or corresponds to this Karnatak raga.

Karnatak

Simharava is a janya of the 58th Melakarta Hemavati (ri,

gi, mi, dhi, ni). Its jati is Audava-Shadava. Ga and Dh are

omitted in aroha. Dh is not used in avaroha. There is a vakra

sanchara in avaroha. Aroha and avaroha of Simharava are,

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

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

स रि मं प नि सं - सं नि प मं रि स.

Simharava is not a popular raga. The following composition is this raga is available.

Ela Napai Inta Chalamu (Telugu)—Adi Tala

—Tiruvatiyur Tyagayya.

SIMHAVAHINI

Hindustani

There is no Hindustani raga called Simhavahini. This is an interesting raga with the following aroha and avaroha,

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

Karnatak

Simhavahini is a janya of the 27th Melakarta Sarasangi (ri, gu, ma, dha, nu). Its jati is Shadava-Sampoorna. In aroha Ri is not used. Aroha and avaroha of this raga are,

स रि2 म1 प ध1 नि सं - सं नि8 ध1 प म1 ग2 रि2 स.

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

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

Antara Ga, Suddha Ma and Kakali Ni are the raga chaya svaras. Simhavahini is not a popular raga. The following composition in raga Simhavahini is available.

Nenarunchara Napai Nee Chala (Telugu)—Adi Tala

—Tyagaraja.

SIMHENDRAMADHYAM

Hindustani

Simhendramadhyam which was introduced into Hindustani sangeet twenty years ago is becoming popular in the North.

Simhendramadhyam is an example which shows clearly how the existing Ten Thats of Hindustani sangeet are not sufficient for raga classification. Simhendramadhyam should be a That by itself as in Karnatak sangeet.

Its jati is Sampoorna-Sampoorna. Aroha and avaroha of this raga are,

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

Svaras used are Tivra Ri, Komal Ga, Prati Ma, Komal Dh and Tivra Ni. This raga is sung in the night. A composition in this raga is,

Ka Na Karata Batiya Kanhaiyya—Tri Tal—Shankarao Vyas.

Ragas Madhuvanti and Kiravani have resemblance to Simhendramadhyam.

Madhuvanti—Dh is Tivra (See Madhuvanti).

Kiravani—Ma is Suddha (See Kiravani).

Karnatak

Simhendramadhyam is Melakarta No 57 (ri, gi, mi, dha, nu). Its old name is Sumadhyuti. Aroha and avaroha of this Sampoorna-Sampoorna raga are,

स रि2 ग2 म2 प ध1 नि3 सं - सं नि3 ध1 प म2 ग2 रि2 स.

Svaras used are Chatusruti Ri, Sadharana Ga, Prati Ma, Suddha Dha and Kakali Ni. The above aroha and avaroha according to Hindustani notation are,

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

Simhendramadhyam is a very popular Karnatak raga. The following compositions in raga Simhendramadhyam are very popular.

Nata Jana Paripalagana (Telugu)—Rupaka Tala—Tyagaraja.

Nee Kenduku Daya Radu (Telugu)—Adi Tala

—B. Vasudevachar.

Karnatak raga Kiravani resembles Simhendramadhyam.

Kiravani–Suddha Ma is used (See Kiravani).

138

RAGANIDHI

SINDH or SINDHU

Hindustani

This raga belongs to Kafi That (Kharaharapriya). Its jati is Sampoorna-Sampoorna. Aroha and avaroha of this raga are,

नि ष -नि धि-ग म ग म धि-म प ध सं—सं नि ध प-म प-ग म-प म ग म धि-घ नि स.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, Tivra Dh and Komal Ni. Slight use of Tivra Ni is made in aroha occasionally. In this raga Ri is kept prominent. Vadi is Ri and Samvadi Dh. This raga is considered to be a Kshudra raga or a light raga for light music or Dhoon.

Sanchara or Chalan of raga Sindh is as under,

नि ध नि-रि-ग म ग रि-स-म ग रि-नि स नि-प ध नि-स । ग-ग-म गू रि-स-म ग रि-नि स नि-प ध नि स॥

This raga is well suited for playing Gats on Sitar. There is a raga called Sindh Bhairavi in Hindustani sangeet which is quite a different one.

Hindustani raga Gara has close resemblance to raga Sindh. Gara--It is a Panchamantya raga. Tivra Ni is prominent in aroha (See Gara).

Karnatak

Sindhu of Karnatak sangeet is a janya of the 29th Melakarta Dheerasankarabharana. (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of Hindustani sangeet. There are two types of Sindhu--(1) Audava-Sampoorna (2) Chatusvari-Sampoorna.

Aroha and avaroha of Audava-Sampoorna type are,

स रि2 ग रि2 म1 प सं—सं नि3 ध2 प नि3 ध1 म1 नि2 धि2 स.

Dh and Ni are omitted in aroha. According to Hindustani notation, the aroha and avaroha are,

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

SINDHU BAHAR

139

In aroha it is like Tilak Kamod and like Regeshvari in the poorvanga of avaroha.

Aroha and avaroha of Chatusvari-Sampoorna type are,

स म1 प ध2 सं—सं नि3 ध2 म1 प म1 नि2 धि2 स.

Ri, Ga and Ni are not used in aroha. According to Hindustani notation, the aroha and avaroha are,

स म प ध सं—सं नि ध स म प ध नि स.

Raga Sindhu is not a popular raga. Neither of the two types is ever heard. Name Sindhu is prefixed to a number of ragas like Sindhu Bhairavi, Sindhu Mandari, Sindhu Kannada etc. Although the two types of Sindhu of Karnatak sangeet have no resemblance to the Hindustani raga Sindh still in both of them we find flavour of Hindustani ragas Tilak Kamod and Mand. These two types of Karnatak raga Sindhu are interesting in a way.

SINDHU BAHAR

Hindustani

Sindhu Bahar is a mixture of the two popular ragas Sindhura and Bahar both of which belong to Kafi That (Kharaharapriya). Its jati is Audava-Sampoorna. Ri and Ni are omitted in aroha. Aroha and avaroha are,

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

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Svara groups underlined should be uttered quickly to produce Bahar effect. Pakad or diagnostic swara groups are,

म प ध सं-नि ध प-नि प म प-म ग म रि स.

Bahar anga is not only found in uttaranga but it is also found in poorvanga. Sindhura is mostly in uttaranga.

This raga is sung during second prahara of night. Compositions in this raga are,

Mano Mano Radha Pyari—Ek Tal (Vilambit)

Meri Gati Janaki Jeevan—Tri Tal (Madhya)

140

RAGANIDHI

Karnatak

There is no Karnatak raga called Sindhu Bahar nor one which resembles this Hindustani raga.

SINDHU BHAIRAVI

Hindustani

Sindhu Bhairavi of Hindustani sangeet belongs to Asavari That (Natabhairavi). Its jati is Shadava-Sampoorna. In aroha Pa is omitted. Aroha and avaroha of Sindhu Bhairavi are,

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

Svaras used are both Komal and Tivra Ri, Komal Ga, Suddha Ma, Komal Dh and Komal Ni. Strictly speaking Komal Ri is not used in Asavari That. As Tivra Ri is used in aroha it is put under Asavari That.

Vadi is Dh and Samvadi Ga. This raga is sung during the second prahara of the day. Pakad or Gunjan svara groups are,

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

Vistara of this raga is chiefly in Mandra and Madhya saptaks. What is sung today as Bhairavi with two Rishabs is mostly Sindhu Bhairavi. Sindhu Bhairavi is not considered to be a high class raga. It is considered to be a raga for Kshudrageet or light music like Dhoon etc. Compositions in raga Sindhu Bhairavi are,

Gyana Guna Datara—Jhampal (Madhya),

Mandara Panchama—Tri Tal (Madhya).

Karnatak

Sindhu Bhairavi mentioned in Granthas on Karnatak sangeet belongs to the 10th Melakarta Natakapriya (ra, gi, ma, dhi, ni). It is a Madhyamantya raga whose jati is Sampoorna-Sampoorna. Aroha and avaroha of Sindhu Bhairavi are,

र1 ग2 रि2 ध2 स नि2 ग2 म1 - ग2 रि2 स नि2 ध2 प म1 ग2 र1

Svaras used in Sindhu Bhairavi—janya of Natakapriya—are Suddha Ri, Sadharana Ga, Suddha Ma, Chatusruti Dh and

Kaisiki Ni.

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SINDHU KANNADA

Kaisiki Ni. According to Hindustani notation, the above aroha and avaroha are,

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

The present day Sindhu Bhairavi is not sung with the above mentioned aroha and avaroha. There are no compositions with this svaroop. Sindhu Bhairavi as sung today resembles the Hindustani raga Bhairavi which uses all the twelve notes and hence called by critics as “Dwadasi Bhairavi”. Sindhu Bhairavi is popular for concluding Ragamalkas with concerts. Many songs of Purandaradasa and compositions of Tamil and Telugu poets are rendered in this raga.

SINDHU KANNADA

Hindustani

There is no Hindustani raga called Sindhu Kannada, nor one which corresponds to or resembles this Karnatak raga.

Karnatak

Sindhu Kannada is a janya of the 28th Melakarta Harikambhoji (ri, gi, ma, dhi, ni). Its jati is Shadava-Sampoorna. Ni is omitted in aroha. Aroha and avaroha of Sindhu Kannada are,

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

Svaras used are Chatusruti Ri, Sadharana Ga, Suddha Ma Chatusruti Dh and Kaisiki Ni. In one book the aroha is given as Audava omitting Dh and Ni as under but the avaroha is the same as Shadava-Sampoorna type.

स रि2 ग2 म1 रि2 ग2 म1 प सं.

According to Hindustani notation aroha and avaroha of Sindhu Kannada are,

स म ग रि ग म प ध प सं or सं स म ग रि ग म प ध प सं -

सं नि ध प म ग रि स.

There are vakra sanchara in both types of aroha. This is not a popular raga. The following composition in raga Sindhu Kannada is available.

Nannoo Ganna Talli (Telugu)—Adi Tala—Tyagaraja.

SINDHU MANDARI

Hindustani

There is no Hindustani raga called Sindhu Mandari This

is an interesting raga having the following aroha and avaroha.

स ri ग ma प sं - सं नि ध प - ग म ध प - म ri स.

Karnatak

Sindhu Mandari is derived from the 29th Melakarta

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

to Bilaval That of Hindustani. Jati of Sindhu Mandari is

Audava-Sampoorna. In the aroha Dh and Ni are omitted.

There are vakra sancharas in avaroha. Aroha and avaroha of

this raga are,

स ri3 ग2 म1 प sं - सं नि3 ध2 ग2 म1 ध2 प म1 ri2 स.

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

Chaturasruti Dh and Kakali Ni. According to Hindustani

notation the above aroha and avaroha are,

स ri ग म प sं - सं नि ध ग म ध9 म ri स.

Sindhu Mandari is not a popular raga. The following

composition is sometimes heard.

Karuninchutaku Idi Samaya (Telugu)--Ādi Tala

--Patnam Subbramanya Iyer.

SINDHURA ASAVARI

Hindustani

This raga is a mixture of Sindhura and Asvari ragae. Its

jati is Audava-Sampoorna. Ga and Ni are omitted in aroha.

Aroha and avaroha of Sindhura Asavari are as under.

स ri म प ध sं - सं नि ध प - ध म प ग2 -

ri म - म ग ri स.

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

Komal and Tivra Dh and Komal Ni. Gunjan svara groups or

Pakad svaras are:

म प ध sं - नि ध प - ध म प ध sं.

This is a uttaranga raga. In this raga anga of Sindhura is

prominent while those of Asavari are weak or less prominent.

Asavari anga is used only in avaroha as सं ri नि ध प. After this

the Sindhura anga य प ध sं नि ध प - ग म प ध sं is joined.

Sometimes the whole of avaroha consists of Asavari only as,

प sं नि ध प - ध ग म प - ग ri स.

Sindhura Asavari is a pleasing raga. A composition in this

raga is,

Re Manga Re Jo Hath--Tri Tal (Vilambit)

Darasa Bina Dookhana Lagi--Tri Tal (Madhya)

Karnatak

There is no raga called Sindhura Asavari in Karnatak

sangeet nor one which resembles this Hindustani raga.

SINDHURA KAFI

Hindustani

Sindhura Kafi belongs to Kafi That (Kharaharapriya). Its

jati is Audava-Sampoorna. In aroha Ga and Dh are omitted.

Aroha and avaroha of Sindhura Kafi are,

स - ri - म - नि sं - ri sं - सं - नि ध प - म ग - ri स.

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

Dh and both Komal and Tivra Ni. Tivra Ni is used in

aroha and Komal Ni in avaroha. As this raga consists of a

mixture of Sindhura and Kafi ragas it is difficult to exactly

specify the characteristics. Some important points however

have to be remembered while rendering this raga. In raga

Sindhura Ni is not used in aroha but in Sindhura Kafi Ni is

used in aroha. In Sindhura only Komal Ni is used while in

Sindhura Kafi both Komal and Tivra Ni are used. In

Sindhura Dh is used in both aroha and avaroha but in

Sindhura Kafi Dh is not used in aroha.

In Kafi Ga is important in aroha. In this samyukta raga

Kafi Sindhura Ga is omitted in aroha. At the present day

neither pure Sindhura raga nor pure Kafi raga is sung.

144

RAGANIDHI

What is sung may be either Sindhura Kafi or Kafi Sindhura according to the dominant chayas given in this raga.

Sindhura Kafi is a very pleasing raga. Hori, T'appa, and Thoomri are generally sung in this raga. Compositions in Sindhura Kafi are,

Mori Aj garo–Deepchandi Tal–Chiranjiva Lal Jigyasu.

Hindustani ragas Sindhura and Kafi have resemblance to Sindhura Kafi.

Sindhura–Ga and Ni are not used in aroha. Db is used in both aroha and avaroha. Only Komal Ni is used in avaroha (See Sindhura).

Kafi–Ga is important in aroha (See Kafi).

Karnatak

There is no raga called Sindhura Kafi in Karnatak sangeet. The Karnatak raga called Hindustani Kafi or Kapi resembles Sindhura Kafi of North. In Karnatak raga Hindustani Kapi both Gandharas, both Dhaivats and both Nishads are used. Svaroop of this raga is,

स ri - म प नि सं - तिं ग् रिं - सं तिं ग् s - नि ध नि, s - प - म प -

सं s - नि प ग् s ri - ध प ग् s ri - स नि s - ग - ग म - गू s ri -

स नि s (See Kapi).

SINDHURAMAKRIYA

Hindustani

There is no Hindustani raga called Sindhuramakriya. It can be introduced among ragas of Bhairav That. (Mayamala-vagula).

Karnatak

Sindhuramakriya is a janya of the 15th Melakarta Mayamalavagaula (ra, gu, ma, dha, nu) which corresponds to Bhairav That of Hindustani sangeet. Jati of this raga is Shadava–Sampoorna. There are vakra sancharas in avaroha. One avaroha is only Shadava. Aroha and avaroha of the two types are,

स ri8 म1 प ध1 नि3 सं - स नि1 प ध1 प म1 ग3 ri1 ग2 स or

सं नि3 प ध1 म1 ग3 ri3 स.

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SINDHUSURATI

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

स ग म प धू नि सं - सं नि प धू प म ग ri सं or

स नि प धू म ग ri स.

Sindhuramakriya is not a popular raga. The following composition in this raga is sometimes heard.

Sudha Madhurya Bhashana (Telugu)–Adi Tala–Tyagaraja.

In this raga Antara Ga and Suddha Ma are the raga chayas. According to Dikshitar school, Sindhuramakriya is a janya of the 45th Melakarta Shubhapantuvarali (ra, gi, mi, dha, nu). Its jati is Sampoorna–Sampoorna without any vakra sancharaas. Hence it resembles Shubhapantuvarali (See Shubhapantuvarali).

A composition in this type of Sindhuramakriya is,

Tarachchitidha Shikhara–Dhruva Tala–(Lakshanageeta)

–Venkatamakhi.

SINDHUSURATI

Hindustani

There is no Hindustani raga called Sindhusurati. This rare Karnatak raga has chayas of Des and Sorat ragas in its aroha and avaroha respectively.

Aroha and avaroha of Sindhusurati are,

स ri म प नि सं - सं नि प म ri ग ri स.

Tivra Ni is used in a special prayoga सं नि सं in aroha occasionally as in Sorat and Des.

Karnatak

This rare raga belongs to the 28th Melakarta Hari-kambhoji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Its jati is Audava–Sampoorna with vakra sanchara in avaroha. Aroha and avaroha are,

स ri8 म1 प नि6 सं - सं नि6 सं - सं नि6 ध2 प म1 ग3 ri1 ग2 स.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatusruti Dha and Kaisiki Ni. In the prayoga सं नि से Ni is

146

Kakali. According to Hindustani notation the aroha and avaroha are,

स ri म प नि सं - सं नि सं - सं नि ष प मति म गरि स.

A composition in this raga is,

Ramabhirama Ramarama (Sanskrit)—Deshadi Tala

—R. Sreenivasan.

SKANDAMANORAMA

Hindustani

There is no Hindustani raga called Skandamanorama. This newly introduced Karnatak raga sounds like Hindustani raga Salang (not Sarang) in which Prati Ma is substituted for Suddha Ma. Aroha and avaroha of Salang are,

स ri म प नि सं — सं नि प म ri स.

(See Salang).

Karnatak

Skandamanorama has been recently introduced by Shri P. K. Rajagopala Iyer of Ambattur. It is a janya of the 63rd Melakarta Latangi (ri, gu, mi, dha, nu). Its jati is Audava-Audava. Ga and Dh are not used. Aroha and avaroha are,

स ri2 म3 प नि3 सं — सं नि5 प म2 ri2 स.

Svaras used are Chatusruti Ri, Prati Ma, and Kakali Ni. According to Hindustani notation the aroha and avaroha are,

ष ri म प नि सं — सं नि प म ri स.

This raga admits of all sorts of combinations of svaras although Pa is repeated frequently. This is a night raga. It is suited for expression of anger (Rudra rasa). A composition in Skandamanorama is,

Manorama Manatam Manasi Me (Sanskrit)—Adi Tala

—P. K. Rajagopala Iyer.

Skandamanorama has great resemblance to the popular Karnatak raga Hamsanada which is sung at the present day with the Shatsruti Dh almost omitted (See Hamsanada).

A raga called Varata has the same aroha and avaroha as Skandamanorama. It is derived from the 59th Melakarta Dharmavati. It is a rare raga.

SOHAG or SUHAG

Hindustani

This is a rare raga. Its jati is Shadava-Shadava. Pa is omitted in this raga. Aroha and avaroha of Sohag are,

नि - स ri ग s म s - म ग - मं ध सं - नि riं नि s मं s म ध म ग - म s s म s - मं ग ri स.

Svaras used are Komal Ri, Tivra Ga, both Komal and Tivra Ma, Tivra Dh and Tivra Ni. Suddha Ma is used only between two Gandhars as ग म s म according to Vivadi rule. Suddha Ma is also extended as म s s म s म म. Pakad or diagnostic svara groups are,

नि स ri ग s म s s - मं ध riं नि s मं - मं ग मं s s म s म - म ri ग s मं ग ri स.

Antara begins with म ग मं ध म सं s s. Vadi is Ma and Samvadi Sa. This raga is sung late in the night. It sounds like Poorvi without Pa. In Poorvi Dh is Komal. In this raga there is a beautiful mixture of chayas of Lalit, Basant, Paraj and Sohoni.

Sohag is a very pleasing raga. It is unfortunate that it is not very much in currency. The following compositions are available.

Aye Sakhi Rama Pahara—Ek Tal (Vilambit)—J. D. Patki.

Mohana Shyama Sundara—Tri Tal (Madhya)—J. D. Patki.

The following Hindustani ragas are allied to Sohag.

Lalit—Both Ma are used side by side. Komal Dha is used by some (See Lalit).

Basant and Paraj—Pa is important. Dh is Komal (See Basant and Paraj).

Sohani—Tivra Dh is Vadi. Tivra Shadja is prominent (See Sohoni).

Poorvi—Pa is used. Dh is Komal (See Poorvi).

Marwa—Ri and Dh are prominent (See Marwa).

148

RAGANIDHI

Karnatak

There is no raga called Sohag in Karnatak sangeet nor one

which resembles this Hindustani raga.

SOHANI or SOHONI

Hindustani

Sohoni belongs to Marwa That (Gamanasrama). There

are four kinds of this raga according to the Madhyama and

Dhaivata svaras used. (1) In this only Tivra Ma is used. Dh

is 'Tivra. (2) Komal Ma is used. This is called Shuddha

Sohoni. (3) Komal and Tivra Ma are used. Dh is Tivra. (4)

Only Komal Ma is used. Dh is also Komal. Type (1) is the

one which is popular wherein only Ma and Dh are both Tivra.

TYPE I

In this type there are two jatis---(1) Audava-Shadava. (2)

Shadava-Shadava. In the Audava-Shadava type Ri and Pa are

omitted in aroha. In avaroha Pa is not used. Aroha and

avaroha of this type are,

स ग - मं ध नि सं - सं रिं सं - नि ध - ग - म ग - म ध - ग - रि सं.

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

In the Shadava-Shadava jati, in aroha also Ri is used.

Aroha and avaroha of this type are,

स रि ग - मं ध नि सं - सं - सि ध ग - म ग - रि सं.

Pakad or Gunjan svara groups are,

सं - नि ध नि - ध म ग - or नि ध ग - म ध - नि रिं सं.

Vadi is Dh and Samvadi Ga. Some suggest Sa as Vadi.

Sohoni is sung during the last prahara of night. This is

an uttaranga raga. Nyasa or halt on Tara Shadja is beautiful

and creates a peculiar atmosphere. Mangalashtaka sung

during marriages among Maharastrians is in this raga.

Original name of this raga might have been Sobhani or Sobhana.

The Audavo-Shadava type is a very popular Sohoni raga.

SOHANI OR SOHONI

149

Compositions in this type are,

Kahe Ab Tuma Aye Ho--Tri Tal (Madbya).

Guru Charana Sharana Kara Mannja--Tri Tal (Madbya).

Hindustani ragas Marwa, Poorja and Hindol resemble

Sohoni.

Marwa--Vadi and Samvadi are Dh and Ri respectively (See

Marwa).

Poorja--Poorvanga raga. Vadi and Samvadi are Ga and Ni

(See Poorja).

Hindol--Ri is not used in this raga (See Hindol).

TYPE II

In this type of Sohoni only Shuddha Ma is used. Hence

it is called Shuddha Sohoni. It resembles the first type in

other respects. Aroha and avaroha of this type are,

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

This type is not popular (See Shuddha Sohoni).

A composition in this raga is,

Udho Hamari Nek Binati--Jhaptai (Madbya).

TYPE III

In this type of Sohoni both Madhyams are used. Aroha

and avaroha of this type are,

स ग - मं ग ध नि सं - रिं सं नि सं नि ध - म ध -

सं नि ध - म ग - म ग रि सं.

Svaras groups नि ध म ग - नि ध ग - म ग रि सं contain both

Madhyams. This type is in a way interesting but not a popular

one. It sounds like Basant in some sancharas.

TYPE IV

In this type Suddha Ma and Komal Dh are used. Aroha

and avaroha of this type are:

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

This type of Sohoni is also not popular. A composition

in this type is,

Hota Gata Abato--Ek Tal (Madbya).

150

RAGANIDHI

Karnatak

There is no raga called Sohani or Sohoni in Karnatak sangeet. Raga Hamsanandi, a janya of the 53rd Melakarta Gamanasrama (Marwa That) resembles type 1 of Sohoni of Shadava-Shadava jati. Aroha and avaroha of Hamsanandi are,

स रि ग म ध नि सं - सं नि ध म ग रि स.

(See Hamsanandi).

Raga Lalitha of Karnatak sangeet which is a janya of the 17th Melakarta Suryakantha resembles Shuddha Sohoni or Sohoni in which only Komal Ma is used. Aroha and avaroha of Lalitha of South are,

स रि ग म ध नि सं - सं नि ध म ग रि स.

(See Lalitha).

There is no Karnatak raga which resembles Sohoni in which both Shuddha and Prati Ma are used. Karnatak raga Vasantha which is a janya of the 15th Melakarta Mayamalavagoula (Bhairav That) resembles type 4 of Sohoni in which Komal Ma and Komal Dha are used. Aroha and avaroha of Karnatak raga Vasantha are:

स ग म ध नि सं - सं नि ध म ग रि स.

(See Vasantha).

SOHONI BAHAR

Hindustani

This raga is a mixture of the two popular ragas Sohoni and Bahar. Svaroop and chalan of this raga are as under,

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

This raga is a difficult one. A composition in this raga is, Saba Bana Phoolari-Ada choutal (Madhya).

Karnatak

There is no raga called Sohoni Bahar in Karnatak sangeet, nor one which resembles this Hindustani raga.

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SOODHA SARANG

Hindustani

Although this seems to be another name for the raga Shuddha Sarang, aroha and avaroha of Soodha Sarang differ slightly from those of Shuddha Sarang. Its jati is Shadava-Audava. Ga is omitted in aroha. In its avaroha Dha and Ga are not used. Aroha and avaroha of Soodha Sarang are,

स रि म प नि ध सं - स नि प म रि स.

Svaras used are Tivra Ri, Tivra Dha, both Shuddha and Prati Ma and both Komal and Tivra Ni. Both Shuddha and Prati Ma are used in aroha. In avaroha only Shuddha Ma is used. Tivra Ni is used in aroha. In avaroha only Komal Ni is used.

Vadi is Sa and Samvadi Pa. This raga is sung between 10 A.M. and 1 P.M. Hindustani raga Shuddha Sarang resembles Soodha Sarang very closely.

Shuddha Sarang-Dha is not used in aroha but it is used in avaroha. In Soodha Sarang the arrangement is reverse. Tivra Ma is used in both aroha and avaroha (See Shuddha Sarang).

Karnatak

There is no raga called Soodha Sarang in Karnatak sangeet nor one which resembles this Hindustani raga.

SORAT, SORATI or SURATI

Hindustani

Sorat belongs to Khamaj That (Harikambhoji). There are two types of Sorat raga--(1) Audava-Shadava (2) Audava-Audava.

In the first type i.e. Audava-Shadava type, in aroha Ga and Dha are omitted. In avaroha Ga is not used. Aroha and avaroha of this type are,

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

In the second type, Ga and Dha are omitted in aroha and Ga and Pa in avaroha. Aroha and avaroha of this type are,

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

Svaras used in both types are Tivra Ri, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Tivra Ni is used in aroha while Komal Ni is used in avaroha. Tivra Ni in Sorat is considered by some to be Ati Tivra Ni.

Vadi is Ri and Samvadi Dh. This raga is sung during the second prahara of the night. Sangadi Ri in this raga is characteristic. The svara group Ri - Ni Dh - Ri s in which Dh Ri s is used without Pa sounds beautiful. Ri elongated as Dh Ri s s - Ni Dh Ri s is very pleasing. Sorat is a very pleasing raga. Unfortunately it is not as popular as raga Desh which closely resembles raga Sorat. Compositions in Sorat are,

Jobana Jhalarahyo-Tilwada (Vilambit).

Prabhu Tero Mahima Kisa Bidha Gavoo

—Tri Tal (Madhya).

Hindustani raga Desh has great resemblance to raga Sorat. Desh--Ga is prominently used in avaroha. Ni is elongated (See Desh).

Karnatak

There is no raga called Sorat in Karnatak sangeet. But there is a raga called Surati which sounds very much like Sorati which is another name for Sorat. These names indicate their origin in Sourashtra or Surat.

Surati is a janya of the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani sangeet. Jati of Surati is Audava-Sampoorna. In aroha Ga and Dh are omitted. Aroha and avaroha of Surati are,

S Ri2 M1 P Ni2 S - S Ni2 Dh2 P M1 G2 M1 Ri2 S S.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatusruti Dh and Kaisiki Ni. There is a vakra sanchara in avaroha.

In Surati of South only Komal Ni is used. Ga is used in Surati but not in Sorat. According to Hindustani notation, aroha and avaroha of Surati are,

S Ri M P Ni S - S Ni Dh P - M G - P M Ri S S - S.

Surati is a very popular raga. The following compositions are often heard.

Paramukha Melara (Telugu)—Adi Tala—Tyagaraja.

Geetarthamu Sangeeta (Telugu)--Adi Tala--Tyagaraja.

A Karnatak raga which resembles Sorat of Hindustani sangeet more closely than Surati is raga Andolika which is also a janya of the Melakarta Harikambhoji (Khamaj That). Aroha and avaroha of Andolika are,

S Ri M P Ni S - S Ni Dh Ri S.

Only Komal Ni is used (See Andolika).

SOUGANDHINI

Hindustani

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

Karnatak

Sougandhini is the old name for the 37th Melakarta Salaga (ri, ga, mi, dha, na). Janya raga Sougandhini belongs to the 37th Melakarta Salaga. Its jati is Audava-Sampoorna. In aroha Ga and Ni are omitted. Aroha and avaroha of Sougandhini are,

S Ri1 M2 P Dh1 S - S Ni1 Dh1 P M2 G1 Ri1 S.

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

S Ri M P Dh S - S Dh P M G Ri S.

In above, ‘Tivra Ri (Ri) represents Suddha Ga (G1) and Tivra Db (Dh) represents Suddha Ni (Ni1) of Karnatak sangeet.

Sougandhini is not a popular raga. A composition in this raga is,

Kamakoti Pithavasini (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

154

RAGANIDHI

SOURASHTRA

Hindustani

This raga is also called Sourashtra Bhairav, Sourashtra Tank or Chourayanshi Tank. Word Saurashtra probably indicates its place of birth as in the case of some other ragas.

Sourabstra belongs to Bhairav That (Mayamalavagaula).

Its jati is Audava-Sampoorna. In its aroha, Ri and Pa are omitted. Aroha and avaroha of Sourashtra Bhairav are,

स - निस् - मग - धनिस् - स - ध्‌प्‌ - नमप - गमरी - स.

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Komal and Tivra Dh and Tivra Ni. Tivra Dh is used in aroha and Komal Dh in avaroha. Aroha sounds like Shuddha Sohoni and avaroha like Bhairav. Use of Tivra Dh in aroha has to be carefully remembered.

Vadi is Ma and Samvadi Sa. This raga is sung in the morning. The chief anga is that of Bhairav. Following sancharas is introduced here and there,

स घ - निसं-सं नि घ्‌ - म.

Ma is kept isolated here and there as,

सं घनिसं - म - म - घनिसं - निध्‌ - मगम - ग - रिस.

In the antara of Sourashtra, chaya of Kalingada is also found as under.

मम - गम - पप - धप्‌ - प - निधप - म - गम - धप - गस.

Ni is prominent in aroha but it is weak and even absent in avaroha. Sourashtra Bhairav or Sourashtra Tank is not a popular raga. The following is a composition in Sourashtra.

Prabhu Karatara Tuma Ho—Tewra (Madhya).

Karnatak

Sourashtra is a janya of the 17th Melakarta Suryakantha (ra, gu, ma, dhi, nu). Its jati is Sampoorna-Sampoorna. Aroha and avaroha of Sourashtra of Karnatak sangeet are,

स रि₁ ग₂ म₂ प ध₁ निस् - सं नि₃ ध₂ प म₁ ग₂ रि₁ स.

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

स रि₁ म प ध निसं - सं ध प म ग रि₁ स.

In avaroha Dh and Ri are kept elongated.

In the Hindustani raga of the same name Tivra Dh is used only in aroha, Ri and Ni are not used in aroha and Ni is dropped in avaroha also. Sourashtra is a fairly popular raga. The following composition is often heard.

Ninnu Joochi Dhanyu (Telugu)—Adi Tala

—Panam Subbramanya Iyer.

Karnatak raga Bhairava, a janya of Suryakantha resembles Sourashtra. Aroha and avaroha of Bhairava are,

स रि₁ म प ध निसं - सं ध प म ग रि₁ स.

(See Bhairava).

Supradeepaka resembles Sourashtra. Ga is not used in aroha (See Supradeepaka).

According to Dikshitar school raga Sourashtra has got the same aroha and avaroha as indicated above but it is put under Melakarta Mayamalavagaula and hence Dh used is Suddha Dh. A composition in this type is,

Suryamurthi Namostute (Sanskrit)—Dhruva Tala

—Muttuswamy Dikshitar.

SOUVIRA

Hindustani

There is no Hindustani raga called Souvira nor one which resembles this rare Karnatak raga. It sounds like a combination of Todi and Kalyan ragas in poorvanga and uttaranga respectively.

Karnatak

Souvira is the old name for the 47th Melakarta Suvarnangi (ra, gi, mi, dhi, nu). Janya raga Souvira is derived from the

156

RAGANIDHI

47th Melakarta Suvarnangi. Its jati is Sampoorna-Shadava.

In avaroha Pa is omitted. Aroha and avaroha of Souvira are,

स ri1 ग2 म2 प ध2 नि2 सं—सं नि3 ध2 म2 ग2 ri1 स.

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

Chatushruti Dh and Kakali Ni. According to Hindustani

notation, the aroha and avaroha are,

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

A composition in raga Souvira is,

Sarasa Souvira (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

STHAVARAJ

Hindustani

There is no Hindustani raga called Sthavaraj. Sthavaraj

is the old name for the Karnatak Melakarta No 46 called at

present Shadvidhamargini. Shadvidhamargini corresponds to an

old Hindustani That called Khatma That whose poorvanga

consists of Todi That and uttaranga of Khamaj That.

Karnatak

Sthavaraj is the old name for the 46th Melakarta

Shadvidhamargini (ra, gi, mi, dhi, ni). Janya raga Sthavaraj is

derived from the above 46th Melakarta. Its jati is Audava-

Audava. Ga and Ni are omitted in aroha and in avaroha Pa

and Ri are omitted. Aroha and avaroha of Sthavaraj are,

स ri1 म2 प ध2 सं—सं नि2 ध2 म2 ri2 स.

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

Chatuaruti Dh and Kaisiki Ni. According to Hindustani

notation, the above aroha and avaroha are,

स ri म प ध सं — सं नि य स ग स.

A composition in raga Sthavaraj is,

Sthavarajadinuta (Sanskrit)—Triputa Tala

—Muttuswamy Dikshitar.

157

SUCHARITRA

Hindustani

There is no Hindustani raga called Sucharitra.

Karnatak

Sucharitra is the 67th Melakarta of Karnatak sangeet (ru,

gu, mi, dha, na). Its old name is Santanamanjari. This is a

Sampoorna-Sampoorna raga. Aroha and avaroha of raga

Sucharitra are,

स ri3 ग3 म2 प ध1 नि3 सं—सं नि1 ध1 प म2 ग3 ri3 स.

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

Dh and Suddha Ni. According to Hindustani sangeet the

above aroha and avaroha are,

स ग म प ध स — सं ध प म ग ri स.

In above, Komal Ga represents Shatsruti Ri (ri3) and

Tivra Dh (ध) represents Suddha Ni (नि1) of South.

A composition in Sucharitra is,

Chintayami Satatam (Sanskrit)—Jhampa Tala

Vclu Mailune (Tamil)—Rupaka Tala—Kotishwara Iyer.

SUDHATARANGINI

Hindustani

There is no Hindustani raga called Sudhatarangini.

Hindustani raga Khambeavati has a slight resemblance to

Sudhatarangini of South (See Khambavati).

Karnatak

Sudhatarangini is a janya of the 28th Melakarta Harikamboji

(ri, gu, ma, dhi, ni) which corresponds to Khamaj That of

Hindustani sangeet. Sudhatarangini and Tarangini are two

different ragas. Tarangini is a janya of the 26th Melakarta

Charukeshi (See Tarangini).

158

RAGANIDHI

Based on the "Chalan" or rendering of the popular composition "Maye Twam Yahee" in the raga Sudhatarangini, its aroha and avaroha can be laid down as under.

स ri2 म1 प ध2 सं — सं नि2 ध2 प म1 ग ri2 स.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, Chatusruti Dh and Kaisiki Ni. Jati of this raga is Audava-Sampoorna. Ga and Ni are omitted in aroha. According to Hindustani notation, the aroha and avaroha of Sudhatarangini are,

स ri म प ध सं — से ति, ध प म ग ri स.

This is not a popular raga. The following composition however is a favourite one.

Maye Twam yahi (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

Some musicians have tried to sing this composition in the raga Tarangini which is a janya of the 26th Melakarta Charukeshi. But the Kriti sounds much better in the raga Sudhatarangini.

SUGHARAYEE

Hindustani

This raga is also called Sugharayee Kanada. It belongs to Kafi That (Kharaharapriya). Its jati is Shadava-Sampoorna. Dh is dropped in aroha. Aroha and avaroha of Sugharayee are,

स ri1 ग म -पनि प सं— सं ति, ध नि प -म ग म ri स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Tivra Dh and Komal Ni. There are vakra sancharas in both aroha and avaroha as प नि प सं - नि ध नि प and ग म ri स. Vadi is Pa and Samvadi Sa. Sugharayee is sung during the second prahara of the day. This raga is considered to be the day version of Shahana or Sahana Kanada which is a night raga. In this raga, even in avaroha, Dh should be kept weak or "durbai" to differentiate it from Shahana. Pa is kept prominent to keep away the effect of Dh creeping in.

159

SUGUNABHUSHINI

Sugharayee is supposed to have been formed by combining Adana and Brindavani Sarang ragas. Sometimes Tivra Ni is used in aroha. It is better to avoid its use.

Compositions in this raga are,

Dayya Piya Bina--Jhaptai--(Madhya).

Adhagbhujatuva--Tri Tai--(Madhya).

Hindustani ragas Suha, Shahana, Nayaki Kanada and Devasakh or Devasag are allied to Sugharayee.

Suha--Dh is completely dropped. Even if used Komal Dh is used but not Tivra Dh. Ri is not used in aroha. Sangatis ri प and ग प not used. Vadi is Ma (See Suha).

Shahana--Tivra Dh is prominent (See Shahana).

Nayaki Kanada--Dh is dropped completely. Sangatis ri प and नि प are prominent. Andolan on Ga is prominent. Sometimes Komal Dh is used as सं ध नि प or नि ध नि प (See Nayaki Kanada).

Devasakh--Dh not used. Sangati नि प is used. Ri is omitted in aroha. Svaras नि प - ग ग प used frequently (See Devasakh).

Karnatak

There is no raga called Sugharayee in Karnatak sangeet, nor one which has the same aroha and avaroha as Sugharayee of North.

SUGUNABHUSHINI

Hindustani

There is no Hindustani raga called Sugunabhushini.

Karnatak

Sugunabhushini is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, nu) which corresponds to Kafi That of Hindustani. Its jati is Shadava-Sampoornia with vakra sanchara in both aroha and avaroha. In aroha Ri is not used. Aroha and avaroha are,

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

160

RAGANIDHI

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

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

This is a pleasing raga but not popular. The following composition in Sugunabhushini is available.

Bhajare Manasa Shri Pranarthiharam (Sanskrit)

– Rupaka Tala – Patnam Subbramanya Iyer.

Sugunabhushini resembles the Karnatak raga Phalamanjari very closely (See Phalamanjari).

SUHA or SUHA KANADA

Hindustani

Suha or Suha Kanada belongs to Kafi That (Kharahara-priya). Its jati is (1) Audava-Shadava. (2) Audava-Sampoorna. In the Audava-Shadava type, in aroha Ri and Dh are omitted. In avaroha Dh is dropped. In the Audava-Sampoorna type in aroha Ri and Dh are omitted. In avaroha Komal Dh is occasionally used. Aroha and avaroha of these types are,

Audava-Shadava

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

सं नि म प म ग म प ग म रि स.

Audava-Sampoorna

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

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, Komal Dh (when used) and Komal Ni. Vadi is Ma and Samvadi Sa. Pakad or diagnostic svara groups are,

नि स म ग म प ग म रि स.

Suha is sung during the second prahara of the day after ragas with Sarang anga are sung. Andolan on Ga is graceful

in this raga. Some consider this raga to be a mixture of Kanada and Sarang. Others consider this to be a mixture of Durbari Kanada and Megha ragas. In its uttaranga it has Sarang anga and in its poorvanga it has Kanada anga. Andolan on Ga gives this raga the Kanada chaya. Ma is kept elongate and this gives Suha raga a grandeur. In this raga there is a chaya of Adana but in Adana Dh is used in aroha and is kept prominent.

Compositions in raga Suha are,

Ajare Badhava Bane – Tilwada (Vilambit).

Kakaru Ho Kaha Karu – Tri Tal (Madhya).

Hindustani ragas Nayaki, Sahana, Sugbarayee, Devasaki and Adana resemble Suha Kanada.

Nayaki or Nayaki Kanada – Sangati ft q is present. Dh is not important. It is avoided as far as possible (See Nayaki Kanada).

Sahana or Shahana Kanada – Tivra Dh is used and kept prominent (See Shahana Kanada).

Sugharayee – Ri is used in aroha. Tivra Dh is used in avaroha. (See Sugbarayee).

Devasakh – Sangati n q is used frequently. Dh is completely omitted. Ri is not used in aroha (See Devasakh).

Adana – Dh is used prominently in aroha (See Adana).

Karnatak

There is no raga called Suha or Suha Kanada in Karnatak sangeet. Raga Pushpalatika which has the following aroha and avaroha has some resemblance to Suha.

स रि ग म प नि सं - सं नि प म ग रि स.

If Ri is omitted in the above aroha and vakra sancharaas प नि स म प in aroha and नि म प ग S in avaroha are introduced then Pushpalatika of South becomes Suha or Suha Kanada of Hindustani Sangeet (See Pushpalatika).

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161

SUHA or SUHA KANADA

162

SU RAGANIDHI

SUHA BAHAR

Hindustani

This rare raga is a combination of two ragas Suha and Bahar. Many details of this raga are not available. The trend of the raga is as under,

सं -नि प-म प म-स-धि-स-नि धिस-ग म-ग म प-रि-रे-स-म नि ध-नि खं-नि सं-नि ध-म प-नि ध-ग ग म.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, and both Komal and Tivra Ni. Swara groups म नि ध -नि स-रि सं-नि ध give the Bahar chaya. Ma seems to be kept elongated and isolated as म - म प म. Suha anga is brought into prominence by the avara groups रि नि स - ग म स -सं-नि प. Poorvanga consists of Suha anga and uttaranga consists of Bahar anga.

A composition in Suha Bahar is,

Phoolanaki Lariya Ariya—Ada Choutal (Madhya).

Karnatak

There is no raga called Suha Bahar in Karnatak sangeet. There is no Karnatak raga which resembles this Hindustani raga.

SUHA SUGHARAYEE

Hindustani

This raga is a mixture of ragas Suha and Sugharayee both of which belong to Kafi That (Kharaharapriya). Jati of this samyukta raga is Shadava-Shadava. Dh is completely omitted. Aroha and avaroha of this raga are,

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

Svaras used are Tivra Ri, Komal Ga, Suddha Ma and Komal Ni. Vadi is Ma and Samvadi Sa. Some suggest Sa as Vadi and Pa as Samvadi. Swara group स रि ग म प in a straight way is used in this raga. It is difficult to sing either Suha or Sugharayee in a pure style. What is generally sung is a mixture of the two ragas. This is analogous to the ragas

sukhumari

163

Kafi and Sindhura which are generally mixed with each other. A composition in Suha Sugharayee is,

Avata Hai Alabela—Ek Tal (Madhya).

Ragas Suha and Sugharayee are closely allied to Suha Sugharayee.

Suha—Ri is not used in aroha (See Suha).

Sugharayee—Ri is used in both aroha and avaroha. Dh is used in avaroha (See Sugharayee).

Karnatak

There is no raga called Suha Sugharayee in Karnatak sangeet. Raga Pushpalatika having the following aroha and avaroha resembles Suha Sugharayee.

स रि म प नि सं-सं नि प म ग रि स.

(See Pushpalatika).

SUKUMARI

Hindustani

There is no raga called Sukumari in Hindustani sangeet. This raga is a pleasing one and can be included among the ragas of Asavari That. Aroha of Sukumari resembles that of Adana and avaroha that of Nayaki Kanada of Hindustani sangeet.

Karnatak

Raga Sukumari has been invented by Sri C. Rangiah of Mysore. It is a janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which corresponds to Asavari That of Hindustani. Jati of this raga is Shadava-Shadava with vakra sanchara in both aroha and avaroha. Ri is omitted in aroha and Dh in avaroha. Aroha and avaroha of raga Sukumari are,

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

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

According to Hindustani notation the aroha and avaroha are,

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

A composition in this raga is:

Japa Kusuma Sankashe (Sanskrit)—Adi Tala—C. Rangiah.

164

RAGANIDHĀI

SUMADYUTI

Hindustani

Sumadyuti is the same raga which is called Simhendra-madhyam today (See Simhendramadhyam).

Karnatak

Sumadyuti was the old name for the raga Simhendra-madhyam which is the 57th Melakarta raga (See Simhendra-madhyama).

The following composition of Muttuswamy Dikshitar is in the raga Sumadyuti.

Kamakshi Kamakoti Pitha Vasini (Sanskrit)—Rupaka Tala

—Muttuswamy Dikshitar.

SUMANAPRIYA

Hindustani

There is no raga called Sumanapriya in Hindustani sangeet.

It can be included among ragas of Khamaj That.

Karnatak

Sumanapriya belongs to the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Its jati is Shadava-Shadava with vakra sanchara in both aroha and avaroha. Ni is omitted. Aroha and avaroha are,

स ri2 ग2 म1 प ध2 प स — स ri2 स ग2 प म1 ग3 ri2 स.

Svaras used are Chatusruti Ri, Antara Ga, Suddha Ma, and Chatusruti Dha. According to Hindustani notation they are,

स रि ग म प ध प स — स ध स प म ग रि स.

This is not a popular raga. A composition in this raga is,

Shri Sharana Bhavuni Vina (Telugu)—Rupaka Tala

—Muthiah Bhagavatar.

SUNADAVINODINI

Hindustani

There is no raga called Sunadavinodini in Hindustani sangeet. This raga has the following aroha and avaroha.

स ग म ध नि सं — स नि ध म ग स.

Sunadavinodini resembles the Hindustani ragas Hindol and Sanjh which have the following aroha and avaroha respectively.

स — ग म घ — नि — म ध — स — सं — नि ध — म ग — म ग स.

स ग म ध नि — म ध सं — सं — नि ध नि स — ध म ग स — म ग स

(See Hindol).

(See Sanjh).

Karnatak

Sunadavinodini is a janya of the 65th Melakarta Mechakalyani (ri, gu, mi, dhi, nu). Its jati is Audava-Audava. Ri and Pa are omitted in both aroha and avaroha. Aroha and avaroha of Sunadavinodini are,

स ग2 म1 ध2 नि सं — सं नि3 ध2 म1 ग2 स.

According to Hindustani notation, the above are,

स ग म ध नि सं — सं नि ध म ग स.

Sunadavinodini is a pleasing raga. The following compositions in this raga which have been brought to light only recently deserve to be popularised.

Devadi Deva Shree Vasudeva (Sanskrit)—Adi Tala

—Mysore Vasudevachar.

Samagana Sunadavinodini (Sanskrit)—Adi Tala

—S. Gururajacharya.

Karnatak ragas Hamsanandi and Amritavarshini resemble Sunadavinodini.

Hamsanandi—Ri is used in both aroha and avaroha. (See Hamsanandi).

Amritavarshini—Dh is not used but Pa is used. (See Amritavarshini).

166

RAGANIDHI

SUNDERKAUNS

Hindustani

This raga is a recent introduction. Two persons seem to

have composed two different ragas simultaneously and given

the name Sunderkauns to these ragas.

Shri V. G. Ringe ("Tanarang") has introduced this raga

in which svaras used (excepting Dh) are the same as in

Malakauns. In Sunderkauns he introduced Tivra Dh in place

of the Komal Dh in Malakauns. This type of Sunderkauns is

also known as Chandrakauns with Bageshree anga.

Jati of this type of Sunderkauns is Audava-Audava. Ri

and Pa are completely omitted. Aroha and avaroha of

Sunderkauns are,

स ग म ध नि सं - सं नि ध म ग रे स.

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

Komal Ni. Vadi is Sa and Samvadi Pa. This raga is sung

during the third prahara of night. The following svara groups

are frequently used,

ध नि ध प सं नि - स म ग - ग रे ग स - नी स ध नि

This type of Sunderkauns is also obtained by dropping Ri

in the raga Bageshree having the following aroha and avaroha.

स रि ग म ध नि सं - सं नि ध म ग रि स.

(See Bageshree).

Compositions in this raga are:

Poojana Aye Ho Sat-Ek Tal (Vilambit)—V. G. Ringe.

Mohana Murali Baja De—Tri Tal (Drut)—V. G. Ringe.

Another type of Sunderkauns is the one which resembles

the raga Pancham Malakosh. Pancham Malakosh is the name

given to the Karnatak raga Jayanthashree which was introduced

into the Maharashtra stage music forty years ago. In Sunder-

kauns of this type the aroha and avaroha are reversed when

compared with Pancham Malakosh. This type belongs to

Asavari That. Jati of this type of Sunderkauns is Shadava-

Audava. Ri is omitted in aroha. Ri and Pa are omitted in

avaroha. Aroha and avaroha of this raga are,

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

167

SUPOSHINI

Svaras used are all Komal svaras. In aroha Pa is used in

a vakra sanbhara as न्‌ ध प ध नि स.

Karnatak

There is no raga called Sunderkauns in Karnatak sangeet.

Sunderkauns of Audava-Audava type in which Komal Ga.

Suddha Ma, Tivra Dh and Komal Ni are used, resembles one

type of the Karnatak raga Hindola in which Chhatushruti Dh is

used.

The kriti "Manasuloni" by Tyagaraja is sung by some

musicians in Hindola with Chatushruti Dh (See Hindola). This

raga is also called Sardhalangi.

Karnatak ragas Jayanthashree and Hindola Vasantha

resemble Sunderkauns, of the type which in turn resembles

the Hindustani raga Pancham Malakosh belonging to Asavari

That. Jayanthashree has the following aroha and avaroha.

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

(See Jayanthashree).

Hindola Vasantha has the following aroha and avaroha.

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

In Hindola Vasantha, Pa is used in both aroha and

avaroha (See Hindola Vasantha).

SUPOSHINI

Hindustani

There is no Hindustani raga called Suposhini. This

Karnatak raga is an interesting one. It can be included under

ragas of Khamaj That. Aroha and avaroha of Suposhini are,

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

This raga has some resemblance to ragas Kuntalavarali

and Khambavati (See Kunthalavarali and Khambavati).

Karnatak

Suposhini is a janya of the 28th Melakarta Harikambhoji

(ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj

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That. Jati of Suposhini is Shadava-Shadava. Ga is omitted

in this raga. There are vakra sanchras in both aroha and

avaroba. Its aroha and avaroha are,

स ri़1 म1 प ध2 नि2 ध2 से — सं ध2 नि2 प म1 ri़1 स.

Svaras used are Chatusruti Ri, Suddha Ma, Chatusruti Dh

and Kaisiki Ni. Accorrding to Hindustani nutation, the aroha

and avaroha are,

स ri़1 प नि2 ध सं — सं ध नि2 प म ri़1 स.

Suposhini is not a popular raga. The following composition

in this raga is very pleasing, particularly when played on

instruments like Veena and Violin.

Raminchura Revarura Raghothema (Telugu)—Rupaka Tala

—Tyagaraja.

Ragas Subhashini and Subhushini are entirely different

from Suposhini.

SUPRADEEPA

Hindustani

There is no Hindustani raga called Supradeepa. It is a

pleasing raga with the following aroha and avaroha.

स ri़1प्र ध नि सं — सं नि ध प म ग ri़1स

Karnatak

Supradeepa is derived from the 17th Melakarta Suryakanta

(ra, gu, ma, dhi, nu). Jati of Supradeepa is Shadava-

Sampoorna with vakra sanchara in avaroha. Ga is omitted in

aroha. Aroha and avaroha of Supradeepa are,

स ri़1 म1 प ध2 नि3 सं — सं नि3 ध2 प म1 ग2 म1 ri़1 स.

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

Chatusruti Dh and Kakali Ni. According to Hindustani

notation, the above aroha and avaroha are,

स ri़1 म प ध नि सं — सं नि ध प म ग म ri़1 स,

RAGANIDHI

Supradeepa is not a popular raga. The following compo-

sition is sometimes heard,

Varashikhi Vahana (Sanskrit)—Adi Tala—Tyagaraja.

Karnatak raga Sourashtra which is also derived from the

Melakarta Suryakantha resembles Supradeepa.

Sourashtra—Ga is used in aroha. Ma is elongated in avaroha.

No vakra sanchara in avaroha (See Sourashtra).

SURANANDINI

Hindustani

There is no Hindustani raga called Suranandini. This

rare Karnatak raga may be included among ragas of Bilaval

That (Dheerasankarabharaṇa). Its aroha and avaroha are,

स ri़1 प ध नि सं — सं नि ध प ग ri़1 स.

This may be considered to be Bilaval without Ma.

Karnatak

Suranandini is a janya of the 29th Melakarta Dheera-

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

Hindustani Bilaval That. Its jati is Shadava-Shadava. Ma is

omitted. Aroha and avaroha are,

स ri़2 ग2 प ध2 नि3 सं → सं नि3 ध2 प ग2 ri़2 स.

Svaras used are Chatusruti Ri, Antara Ga, Chatusruti Dh

and Kakali Ni. According to Hindustani notation they are,

स ri़2 ग प ध नि सं — सं नि ध प ग ri़2 स.

A composition in this rare raga is,

Suranandineem (Sanskrit)—Adi Tala

—Jayachamaraja Wadiyar.

169

170

RAGANIDHI

SURMALHAR

Hindustani

Surmalhar belongs to Kafi That (Kharaharapriya). Its jati is considered to be Audava-Audava by some. Others consider it to be Sampoornna-Sampoornna. In the Audava-Shadava type Ga and Dh are omitted in aroha and Ga is dropped in avaroha. Aroha and avaroha of these types are,

Audava-Shadava type

स रि म प निसं or निसं — संनिधपनिधप-म-रि-म निस.

Sampoornna-Sampoornna type

रि म प - नि ध नि म प - निसं-रिं स-निधनिप-म-रि-स रि-म प-ग 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 are—नि ध म प -म निस य प.

Elongation of म निस in म निस य प sounds beautiful and is characteristic of the raga. Vadi is Ma and Samvadi Sa. Sangatis म रि - नि प - ध प are used in Sur Malhar. Dh in म निस य प gives a special effect which is pleasing. The grace note Ma for Ni has to be noted. Malhar chaya is brought out by halting on Ma or making Ma the Nyasa, and also by using the two Nishads side by side as निस निसं.

This is a Mosami or Seasonal raga. During the rainy season it can be sung at all hours. In other seasons it is sung between 10 A.M. and 2 P.M. This raga is a mixture of two ragas Madhumad Sarang and Malhar. It is said to have been composed by Bhakta Surdas.

Sur Malhar is a very pleasing and popular raga. Compositions in this raga are,

Garajata Baje—(Vilambit).

Badarva Barasaniko—Tri Tal (Madhya).

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SURYAKANTHA

Karnatak

There is no raga called Sur Malhar in Karnatak sangeet. Karnatak raga Devamanohari having the following aroha and avaroha has some resemblance to Sur Malhar.

स रि म प ध निसं — रें निष ध प म रि स.

The above aroha and avaroha are close to those of Audava-Shadava type of Sur Malhar. But in Devamanohari Dh is used in aroha also (See Devamanohari).

SURYAKANTHA

Hindustani

There was no Hindustani raga called Suryakantha. This Karnatak raga is now being introduced in the North. Aroha and avaroha of this Sampoornna-Sampoornna raga are,

स रि ग म प ध निसं — सं निख प ध म ग रि स.

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Tivra Dh and Tivra Ni. Suryakantha sounds like a combination of Bhairav (Mayamalavagaula) in poorvanga and Bilaval (Shankarabharanā) in uttaranga.

Karnatak

Suryakantha is Melakarta No. 17 of Karnatak sangeet (ra, gu, ma, dhi, nu). It is called Chhāyāvati according to Dikshitar school. Aroha and avaroha of this Sampoornna-Sampoornna raga are,

स रि1 ग2 म1 प ध2 निसं — सं निस ध2 प म1 ग2 रि1 स.

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

स रि म प ध निसं — सं निख प ध म ग रि स.

Suryakantha is not a popular raga. The following compositions are available.

Muddu Mōmu Elagu (Telugu)—Adi Tala—Tyagaraja,

Paratpara Gangadhara (Kanarese)—Adi Tala

—V. Venkatagiriappa.

Ragas Supradecpa, Sourashtra and Bhairava which are derived from Suryakantha resemble the parent raga.

Supradeepa--Ga is omitted in aroha (See Supradeepa).

Sourashtra--In avaroha Dh and Ri are elongated (See Sourashtra).

Bhairava--Ni is omitted in avaroha (See Bhairava).

SURYAKOSH or SURYAKAUNS

Hindustani

This newly introduced raga has been formed by changing the Komal Ni and Komal Dh of Malakauns to Tivra Ni and Tivra Dh. Its jati is Audava-Audava. Ri and Pa are not used. Aroha and avaroha are,

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

Svaras used are Komal Ga, Suddha Ma, Tivra Dha and Tivra Ni. This is an interesting raga and sounds like Durga of Khamaj That or Madhuradhvani raga (See Durga of Khamaj That and Madhuradhvani).

A composition in Suryakauns is,

Bhora Bhayee Sakhi—Tri Tal (Madhya)—J. D. Patki.

Karnatak

There is no raga called Suryakauns. Just as some use Chatasruti Dh in Hindola (See Hindola) if Ni is also changed into Kakali Ni, then Suryakauns results.

SUVARNANGI

Hindustani

There is no Hindustani raga called Suvarnangi. This That is obtained by having Todi for poorvanga and Kalyan for uttaranga as under.

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

Karnatak

Suvarnangi is the 47th Melakarta of Karnatak sangeet (ra, gi, mi, dhi, nu). Its old name is Souvira. Suvarnangi is a Sampoorna-Sampoorna raga. Its aroha and avaroha are,

स रि1 ग2 म2 प ध2 नि3 सं — सं नि3 ध2 प म2 ग2 रि1 स.

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

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

Compositions in Suvarnangi are,

Mishra Jhampa Tala

—Jayachamaraja Wadiyar.

Shree Raghupatim Me Gatim (Sanskrit)--Rupaka Tala

—Balamuralikrishna.

SVARABHUSHANI

Hindustani

There is no Hindustani raga called Svarabhushaṇi. Avaroha of this raga sounds like that of Narayani of North. This is an interesting raga having the following aroha and avaroha.

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

Karnatak

Svarabhushaṇi is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi That. Its jati is Shadava-Shadava. In aroha Ri is omitted and in avaroha Ga is not used. Aroha and avaroha of Svarabhushaṇi are,

स ग2 म1 प ध2 नि2 सं — सं नि2 ध3 प म1 ग3 रि3 स.

Svaras used are Chatasruti Ri, Sadharana Ga, Suddha Ma, Chatasruti Dha and Kaisiki Ni. According to Hindustani notation, the above aroha and avaroha are,

स ग म प ध नि सं — सं नि ध प म ग रि स.

This is a very pleasing raga but not a popular one. A composition in Svarabhushaṇi is,

Varadaraja Ninu (Telugu)—Rupaka Tala—Tyagaraja.

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RAGANIDHI

SVARAVALI

Hindustani

There is no Hindustani raga called Svaravali. Svaravali is different from Nagasvaravali. This is an interesting raga and can be introduced into Hindustani sangeet under ragas of Khamaj That. Aroha and avaroha of Svaravali are,

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

Karnatak

Svaravali is a janya of the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Its jati is Shadava-Sampoorna. In its aroha Ri is dropped. Aroha and avaroha of Svaravali are,

स म1 ग2 म1 प ध2 नि2 सं—सें नि2 प ध2 म1 ग2 रि2 स.

Svaras used are Chatushruti Ri, Antara Ga, Suddha Ma, Chatushruti Dha and Kaisiki Ni. According to Hindustani notation, the above aroha and avaroha are,

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

Svaravali is not a popular raga. The following composition is available.

Prarabhda Meetlundaga (Telugu)—Jhampa Tala

—Tyagaraja.

SWAYAMBHOOSVARA RAGA

Hindustani

There is no Hindustani raga called Swayambhoosvara raga. Simplest type of Malashree, consisting of only the three svaras Sa, Ga and Pa, with the following aroha and avaroha, corresponds to the Karnatak raga Swayambhoosvara raga.

स ग प सं — सें प ग स.

(Seem Malashree).

Karnatak

Shri V. P. Shivaramiah of Mysore tried to popularise this Trisvari or Samika raga in which only three svaras are

used. The notes are Sa, Ga and Pa which are heard as Swayambhoosvaras. Aroha and avaroha of Swayambhoosvara raga are,

स नि3 प सं — सं प म3 स.

Ga used is Antara Gandhara, According to Hindustani notation the aroha and avaroha are,

स ग प सं — सें प ग स.

This raga sounds like the military bugle, but it has its own beauty. It corresponds to one type of Malashree of Hindustani (See Malashree).

The following compositions are available in this rare raga.

Rama Tyagaraja Prema (Sanskrit)—Adi Tala

—V. P. Shivaramiah.

Shri Rama Raghu Lalama (Sanskrit)—Adi Tal (Trisra Nade)

—V. P. Shivaramiah.

TAKKA

Hindustani

This is a rare raga and can be put under Bhairavi That. Its jati is Audava-Shadava. In aroha Ri and Dha are dropped. In avaroha Ma is omitted. Aroha and avaroha of Takka are,

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

All svaras are Komal svaras only. Vadi is Ma and Samvadi Sa. Hindustani raga Komal Dhanashree resembles Takka very closely.

Komal Dhanashree—Ma is used in avaroha also. Its aroha and avaroha are,

स ग म प नि सं — सें नि ध प म ग रि स.

(See Komal Dhanashree).

Karnatak raga Dhanyasi or Dhanasari resembles raga Takka of Hindustani sangeet (See Dhanyasi or Dhanasari).

Karnatak

There are two types of raga called Takka in Karnatak sangeet. First type is a janya of the 9th Melakarta Dhenuka

(ra, gī, ma, dha, nu). The second type is derived from the

15th Melakarta Mayamalavagaula (ra, gu, ma, dha, nu).

TYPE I

It is a janya of the 9th Melakarta Dhenuka. Its jati is

Shadava-Sampoorna. Ri is omitted in aroha. Aroha and

avaroha of this type of Takka are,

स ग₂ म₁ प म₁ ध₁ नि₃ सं — से नि₃ ध₁ प म₁ ग₂ रि₁ स.

There is a vakra sanchara in aroha. Svaras used are

Suddha Ri, Sadharana Ga, Suddha Ma, Suddha Dha and

Kakali Ni. According to Hindustani notation, the aroha and

avaroha are,

स ग₂ प म ध नि सं — सं नि ध प म ग₂ रि स.

This type of Takka of Karnatak sangeet has some

resemblance to Hindustani raga Takka. The main difference

is in the type of Ni used. The second difference lies in the

use of Ma and Dha in the arohas and avaroha. In Hindustani

raga Komal Ni is used. In the Karnatak raga Tivra Ni is

used. In Hindustani Takka Dha is not used in aroha and Ma

is not used in avaroha. This type of Takka of South will no

doubt be of interest to Hindustani musicians.

There are no compositions available in the Karnatak raga

Takka derived from the Melakarta Dhenuka.

TYPE II

This type is derived from the Melakarta Mayamalavagaula

(Bhairav That). In this type there are two varieties depending

on the jati—(a) Shadava-Shadava (b) Sampoorna-Sampoorna.

In the Shadava-Shadava variety Pa is dropped in aroha

and avaroha drops Dha. Aroha and avaroha of this variety are,

स रि₁ स म ग₂ म₂ ध₁ नि₃ सं — सं नि₃ प म ग₂ म₁ प रि₁ ग₂ स

According to Hindustani notation, they are,

सरिसमगमधुनिसं — संनिपमगमपध्रिगस.

There are vakra sanchara in both aroha and avaroha.

Aroha and avaroha of Sampoorna-Sampoorna variety are,

स रि₁ स ग₂ म₁ ग₂ प म₁ ध₁ नि₃ सं — सं नि₃ ध₂ म₁ ग₂ प म₁ रि₂ स.

According to Hindustani notation, they are,

सरिसगमगपमधुनिसं — संनिधुमगपमरिस.

In both varieties svaras used are Suddha Ri, Antara Ga,

Suddha Ma, Suddha Dha, and Kakali Ni. The above svaras

correspond to those of Bhairav That of Hindustani sangeet.

Compositions in the Sampoorna-Sampoorna type of Takka

of Mayamalavagaula Melakarta are,

Raka Shashi Vadana (Telugu)—Adi Tala—Tyagaraja.

Sundaramoortim Ashrayami (Sanskrit)—Rupaka Tala

—Muttuswamy Dikshitar.

TANAROOPi

Hindustani

There is no Hindustani raga called Tanaroopi.

Karnatak

Tanaroopi is the 6th Melakarta (ra, ga, ma, dhu, nu). Its

old name is Tanukeerti. Its jati is Sampoorna-Sampoorna.

Aroha and avaroha are,

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

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

Shatsruti Dha and Kakali Ni. According to Hindustani

notation, the above aroha and avaroha are,

सरिगमपनिसं — संनिपमपध्रिस.

In the above Tivra Ri (रि₁) represents Suddha Ga (ग₁)

and Komal Ni (नि₃) represents Shatsruti Dha (ध₁) of Karnatak

sangeet.

Compositions in Tanaroopi are,

Shri Ramam Sada Bhajeham (Sanskrit)—Adi Tala

—Balamuralikrishna.

Va Velaya Va (Tamil)—Jhampa Tala—Kotishwara Iyer.

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RAGANIDHI

TANKI or SHREE TANK

Hindustani

Tanki is another name for the raga Shree Tank (See Shree Tank).

Karnatak

There is no raga called Tanki in Karnatak sangeet. Karnatak raga Deepaka which is derived from the 51st Melakarta Kamavardhini (Poorvi That) has some resemblance to Tanki or Shree Tank of North (See Deepaka).

TANUKEERTI

Hindustani

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

Karnatak

Tanukeerti is the old name for the 6th Melakarta Tanaroopi. Tanukeerti is a janya of the 6th Melakarta Tanaroopi (ra, ga, ma, dhu, nu). Its jati is Audava-Sampoorna. In aroha Ga and Dh are not used. Aroha and avaroha of Tanukeerti are,

स ri₁ म₁ प नि₆ सं — स नि₃ ध₁ नि₅ प म₁ ग ri₁ स.

There are vakra sancharas in avaroha. Svaras used are Suddha Ri, Suddha Ga, Suddha Ma, Shatsruti Dh and Kakali Ni. According to Hindustani notation aroha and avaroha are,

स रि म प नि — सं नि नि लि प म रि म रि स.

In avaroha Tivra Ri (ri) stands for Suddha Ga (g₁) and Komal Ni (ni) represents Shatsruti Dh (dh₃) of South.

Tanukeerti is not a popular raga. The following composition in Tanukeerti is available.

Chidambara Nataraja (Sanskrit)—Chapu T'ala

—Muttuswamy Dikshitar.

TARANGINI

Hindustani

There is no Hindustani raga called Tarangini nor one which resembles Tarangini of South.

Karnatak

Tarangini is the old name for the 26th Melakarta Charukesi. Tarangini is a janya of the 26th Melakarta Charukesi (ri, gu, ma, dha, ni). Its jati is Sampoorna-Sampoorna with vakra sancharas in aroha. Aroha and avaroha of Tarangini are,

स ri₂ म₁ ग₂ रि₂ म प ध₁ नि₃ सं—स नि₂ ध₁ प म₂ ग₂ रि₂ स.

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

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

Tarangini is not a popular raga.

The composition "Maye Twam Yahi" of Muttuswamy Dikshitar although composed in Tarangini is now sung with the use of Chatusruti Dh instead of Suddha Dh. Sung in this way, the composition is more pleasing. This has led to the controversy that this famous Kriti was composed in the raga Sudha Tarangini and not Tarangini. Sudha Tarangini is a janya of the Melakarta Harikambhoji (Kharaj That) and has the following aroha and avaroha.

स ri₂ म₁ ध₃ सं—सं नि₂ ध₃ प म₁ ग ri₂ स.

According to Hindustani notation, the aroha and avaroha are,

स रि म प ध सं—सं नि ध प म ग रि स.

(See Sudha Tarangini).

The case of the composition "Maye Twam Yahi" in regard to use of Chatusruti Dh instead of Suddha Dh resembles that of the composition "Naguomuganaleni" in the raga Abheri (See Abheri).

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180

RAGANIDHI

TEEVRAVAHINI

Hindustani

There is no Hindustani raga called Teevravahini.

Karnatak

Teevravahini is a janya of the 46th Melakarta Shadvidha-

margini (ra, gi, mi, dhi, ni). Its jati is Sampoorna-Sampoorna

with vakra sancharas in both aroha and avaroha. Aroha and

avaroha of Teevravahini are,

स ri₁ म₂ ग₃ प ni₂ सं — सं नि₂ ध₂ प म₂ ग₃ रि₁ नि₂ म₂ रि₁ स.

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

Charusruti Dha and Kaisiki Ni. According to Hindustani

notation, the aroha and avaroha are,

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

Teevravahini is not a popular raga. The following

composition in this raga is available.

Sari Jesi Veduka (Telugu)—Adi Tala—Tyagaraja.

TILAK KAMOD

Hindustani

Tilak Kamod is a very pleasing raga and also a popular

one. It belongs to Khamaj That (Harikambhoji). Its jati is

Shadava-Sampoorna, Dha is omitted in aroha. Aroha and

avaroha of raga Tilak Kamod are,

पु नि स रि ग स — रि ग म प नि ध स or

सं S रि — ग S - म - ग - रि स S

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

and Tivra Ni. Although this raga belongs to Khamaj That

Komal Ni is not used. Pakad or diagnostic svara groups are,

रि ध स रि - स - रि प म - ग S नि.

Vadi is Sa and Samvadi Pa. Some suggest Ri and Pa as

Vadi and Samvadi svaras. This raga is sung during the

second prahara of the night.

181

Although this raga is called Tilak Kamod it has no chaya

of Kamod in it. This raga has a number of vakra sancheras

in both aroha and avaroha. A composition in this raga is,

Baname Mohana Viraje—Ek Tal (Drut).

Hindustani ragas Des, Bihari and Sorat resemble Tilak

Kamod.

Des—Komal Ni only is used in avaroha. Svaragroup

स नि S ध प is not used (See Des).

Bihari—Komal Ni is used as in Bibagada प ध नि S ध प (See

Bihari).

Sorat—Ga is not used either in aroha or avaroha. Svaragroup

ग म ध is used prominently (See Sorat).

Karnatak

There is no raga called Tilak Kamod in Karnatak sangeet.

Karnatak raga Nalinikanti which is a janya of the 27th

Melakarta Sarasangi resembles Tilak Kamod. Aroha and

avaroha of Nalinikanti are,

स ग रि म प नि सं — सं नि प म ग रि स (See Nalinikanti).

Another Karnatak raga which has some resemblance to

Tilak Kamod is Kedara, a janya of the 29th Melakarta

Dheerasankarabharana. Aroha and avaroha of raga Kedara are,

स म ग म प नि सं — सं नि प म ग रि स (See Kedara).

Hindustani raga Tilak Kamod is becoming popular in

Karnatak sangeet also.

TILANG

Hindustani

This is a very popular raga. It belongs to Khamaj That

(Harikambhoji). Its jati is Audava-Audava. Ri and Dha are

omitted in this raga. Aroha and avaroha of raga Tilang are,

स ग म प नि सं — सं नि प म ग स.

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

Tivra Ni. Tivra Ni is used in aroha and Komal Ni in

avaroha. Pakad or Gunjan svara groups are,

प नि सं S - नि ध S - ग S म ग S.

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RAGANIDHI

Vadi is Ga and Samvadi Ni. Sangati Ri, P is used frequently. Tilang is sung during the second prahara of night.

There is resemblance between Tilang and Khamaj. The svara groups Ri, S - Ga, Ma, Pa are found in both the ragas. But the following differences give to each raga its own svaroop.

In Khamaj the Antara commences with Ma, Dha - Ni, S - Ni, S while the Antara of Tilang uses Sa, Ma, Pa - Ni, Ni, S - Ni, S.

In aroha Tilang uses Sa, Ri, P - Ga, Ma, Ga while Khamaj uses Sa, Ri, Dha - Ma, Pa - Ga, Ma.

In the raga Tilang, chaya of raga Bihag is also found.

To overcome this Komal Ni should be kept prominent. Ending of the raga with a slide from Ga to Sa as Ma, Ri, S sounds beautiful.

Tilang is mixed freely with other ragas like Khamaj and Jilba for singing Thumries. Khyals are not usually sung in this raga.

Popular compositions in Tilang are,

Bansuri Kanha Bajayee-Tri Tal (Madhya),

Shyama Sundara Madana Mohana-Dadra.

Karnatak

There is a raga called Tilgak prakashini which is a janya of the 6th Melakarta Tanaroopi. But it does not resemble the Hindustani raga Tilang.

Hindustani raga Tilang has become very popular in the South during the last ten or fifteen years and is sung exactly like the Hindustani original under the name Tilang itself.

Karnatak raga Gambhiranata which is a janya of the 36th Melakarta Chalanata has according to some books the following aroha and avaroha.

Sa, Ga, Ma, Pa, Ni, S - Sa, Ni, Pa, Ma, Ga, Ri, S.

Gambhiranata or Gambhiranati resembles Tilang of North very closely.

In Gambhiranata however only Kakali Ni (Tivra Ni) is used in both aroha and avaroha (See Gambhiranata).

Karnatak raga Savitri, janya of 28th Melakarta Hari-kamboji, is an Audava-Audava raga like Gambhiranata.

Savitri uses only Kaisiki Ni. Hindustani Tilang is Gambhiranata in aroha and Savitri in avaroha.

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TILANG BHAIRAV

Hindustani

This raga has been formed by combining the two popular ragas Tilang and Bhairav. Sri Ambadas Rao has introduced this Samyukta raga.

Tilang Bhairav can be put under Bhairav That (Mayamalavagaula).

Its jati is Audava-Shadava. Ri and Dh are omitted in aroha.

In avaroha Dh is dropped. Aroha and avaroha of Tilang Bhairav are,

Sa, Ga, Ma, Pa, Dha, S - Sa, Ri, Ga, Ma, Pa, Dha, S.

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

Tivra Ni is used in aroha and Komal Ni in avaroha as in the raga Tilang.

Pakad or Gunjan svara groups are,

Ga, Ma - Pa, Ni, S - Pa, Ma - Ga, Ma, Ri, S.

In this raga the aroha is completely Tilang.

The Bhairav chaya comes in the poorvang of avaroha in the svara groups Pa, Ma - Ga, Ma, Ri, S.

The ending of the raga is with svaras of Bhairav.

A composition in this raga is,

Avakaram Keeje Jee Bhagavan-Ek Tal.

Tilang Bhairav is a recent introduction and is not yet popular.

Karnatak

There is no raga called Tilang Bhairav in Karnatak sangeet.

If Komal Ni (Kaisiki Ni) is introduced in place of Tivra Ni (Kakali) in the avaroha of the Karnatak raga Jaganmohini then the resulting aroha and avaroha will resemble Tilang Bhairav.

Jaganmohini has the following aroha and avaroha.

Sa, Ri, Ga, Ma, Pa, Ni, S - Sa, Ni, Pa, Ma, Ga, Ri, S.

Only Tivra Ni is used in both aroha and avaroha (See Jaganmohini).

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RAGANIDHI

TODI

Hindustani

This is a very popular raga. It is also called Miaki Todi.

'Todi belongs to 'Todi That (Shubhapantuvarali). Its jati is (a) Shadava-Sampoorna, (b) Sampoorna-Sampoorna. In the Shadava-Sampoorna type Pa is omitted in aroha. Aroha and avaroha of the two types are,

Shadava-Sampoorna

नि मू ग - मे धे - नि स - स नि ध प - मे ग रे स.

Sampoorna-Sampoorna

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

Svaras used are Komal Ri, Komal Ga, Prati Ma, Komal Dh and 'Tivra Ni. Pakad or Raga Vachak svara groups are,

ध - नि स - दि रे स - म रि ग - रि स.

Sangati ध रे is frequently used. Todi is a morning raga and sung between 7 A.M. and 11 A.M. and even later.

This raga has Bhakti rasa in it. Ga in Todi is considered to be Atikomal and Andolita. Pa is used sparingly and in a special way as ध रे प. When halt is made on Pa after having evaded it for sometime the effect is very beautiful.

No grace notes or Kan or Anuswaras should be used ("Khada" as Hindustani musicians call it). Svaragroup नि स ग म प should not be used in this raga as it will sound like Mooltani, a raga which resembles Todi (See Mooltani). By omitting Pa altogether in this raga Gujari Todi is obtained. (See Gujari Todi). In this raga if Pa is given greater importance then a raga called Bahaduri Todi is obtained.

Ending of the raga with the svara groups रि ग रि स sounds

beautiful. Important svaras in this raga are Ri, Ga and Dh.

Popular compositions in Todi are,

Ab More Ram Rama Re--Ek Tal (Vilambit).

Allah Jane Allah Jane--Tri Tal (Madhyaya).

The following Hindustani ragas are allied to Todi.

Gujari or Gurjari Todi--Pa is not at all used (See Gujari Todi).

Bahaduri Todi--Pa is more prominent than in Todi (See Bahaduri Todi).

Mooltani--Svara group नि स ग म प is used. Ga, Pa and Ni are important (See Mooltani).

Karnatak

Raga Todi is also called Hanumatodi for purposes of Katapayadi Sankhya Scheme for the determination of the number of the Melakarta raga in the Melakarta Scheme. Hanumatodi is Melakarta No. 8 (ra, gi, ma, dha, ni) which corresponds to Bhairavi That of Hindustani sangeet. Its jati is Sampoorna-Sampoorna. Aroha and avaroha of raga Todi are,

स रि1 ग2 म1 प ध1 नि2 - सं नि2 ध1 प म1 ग2 रि1 स.

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

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

Raga Todi is one of the most popular ragas. It is a major raga and is chosen for singing of Ragam, Tanam and Pallavi.

Venkatamakhi has named it Jana Todi. Vadi and Samvadi svaras of Todi are Ga and Dh. But Vadi and Samvadi rules are not strictly observed in Karnatak sangeet. Still Ga and Dh have a charm of their own in Todi. Andolan is given on Ga and Dh only and they are elongated or extended to a greater degree than other svaras as shown under,

प म ग रे S S - ग म प ध S S

In this raga there is great scope for Datu svaras (svara skipping). Sometimes Pa is omitted in the sancharnas to create

185

a special effect when the landing is made on Pa. When Pa is altogether dropped in Todi then it is called Shuddha Todi (See Shuddha Todi).

This is considered to be an evening raga. In this connection it will be interesting to note that the Hindustani raga Bhairavi which uses the same svaras as Karnatak raga Todi is considered to be a morning raga.

Todi raga has Bhakti and Karuna Rasas. There are numerous compositions in this raga left almost by every composer. The following are a few of the popular ones.

Kaddanu Variki (Telugu)—Adi Tala—Tyagaraja.

Chesinadelli Marachitiyo (Telugu)—Adi Tala—Tyagaraja.

Shri Venkatesham (Sanskrit)—Rupaks Tala

—Ramnad Sreenivasa Iyengar.

Karnatak raga Shuddha Todi resembles Todi.

Shuddha Todi–Pa is not used in this raga (See Shuddha Todi)

TRIVENI

Hindustani

Triveni or Tiraban belongs to Poorvi That (Kamayardhini).

There are two types of this raga. (i) Audava-Sampoorna. (ii) Audava-Shadava.

Audava-Sampoorna

Ma and Ni are omitted in aroha. Aroha and avaroha of this type are,

स ri - ग प न - ध - स - प प - ध प - सं -

सं नि ध प म - ग ri - प ग ri स.

This type of Triveni resembles raga Tanki very closely.

Hence to avoid mixing up, slight use of Tivra Ma is made in avaroha and also a slight use of Tivra Dh. Although the latter suggestion is not accepted by many still it is worth remembering.

TRIVENI

Audava-Shadava

Ma and Ni are not used in aroha and in avaroha Ma is dropped. Aroha and avaroha of this type of Triveni are,

स ri - ग प न - ri - स - स प प - ध प - सं --

सं नि ध - प पा - ri ri - स.

This type of Triveni resembles raga Rewa. To avoid this, Ni is used prominently as,

प ग ri स - नि ri स ग - म - स ri स.

In both types svaras used are Komal Ri, Tivra Ga, Prati Ma, Komal Dh and Tivra Ni. Slight use of Tivra Dh is sometimes made. Vadi and Samvadi are Ri and Pa. Some suggest the reverse arrangement. In this raga a slight chaya of Shree Anga is given by using sangatis नि ग and ri ग.

Triveni is an evening raga. It is an old raga. It is mentioned in Grinthas. Compositions in this raga are,

Hara Hara Shankara—Jhaptai—(Madhya).

Kalindi Sarasvati—Jhaptai—(Vilambit).

Samsarana Karana Tu—Jhaptai—(Madhya).

Hindustani ragas Rewa, Tanki, and Shree resemble Triveni.

Rewa—Ni is not prominent (See Rewa).

Tanki—Vadi is Pa. Ma is not at all used. Ni is not prominent (See Tanki).

Shree—Tivra Ma is prominent in both aroha and avaroha (See Shree).

Karnatak

There is no raga called Triveni in Karnatak sangeet.

There is a raga called Teevravabini which is a janya of the 46th Melakarta Shadvidhamargini. But this raga has no resemblance to the Hindustani raga Triveni (See Teevravabini).

Karnatak raga Bhauli which is a janya of the 15th Melakarta Mayamalavagaula (Bhairav That) resembles raga Triveni of Audava-Shadava type. Aroha and avaroha of raga Bhauli are,

स ri ग प ध सं — सं नि ध प ग ri स.

(See Bhauli).

188 RAGANIDHI

UDAYARAVICHANDRIKA

Hindustani

There is no raga called Udayaravichandrika in Hindustani sangeet. Hindustani raga Dhani (Pure type without Ri) resembles the Karnatak raga Udayaravichandrika. Raga Dhani has the following aroha and avaroha.

स ग म प नि सं — सं नि प म ग स.

(See Dhani).

Karnatak

There is a raga called Udayaravi which is a janya of the Melakarta Chalanata. It is different from Udayaravichandrika.

Udayaravichandrika is a janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which corresponds to Asavari That of Hindustani sangeet. Its jati is Audava-Audava. Ri and Dh are not used. Aroha and avaroha of this raga are,

स ग₂ म₁ प नि₂ सं — सं नि₂ प म₁ ग₂ स.

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

स ग म प नि सं — सं नि प म ग स.

Udayaravichandrika is a very pleasing raga and also popular. One author gives the following aroha and avaroha for Udayaravichandrika,

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

According to Hindustani notation, the above aroha and avaroha are,

स रि ग म प ध नि सं — सं ध प म रि स.

This is not accepted and hence is only of passing interest. Popular compositions in this raga are,

Shri Raja Matangi (Telugu)—Varnam—Adi Tala —Muthiah Bhagavatar.

Entanerchina Nentajoochina (Telugu)—Adi Tala —Tyagaraja.

Himagiri Tanaye Hemalate (Kanarese)—Adi Tala —Muthiah Bhagavatar.

Raga Shuddha Dhanyasi resembles Udayaravichandrika very closely. In fact some call Udayaravichandrika as Shuddha Dhanyasi. There is a vakra sanchara in aroha of Shuddha Dhanyasi.

In the opinion of some experts in Udayaravichandrika Pa is important and in Shuddha Dhanyasi Ma. Aroha and avaroha of Shuddha Dhanyasi are,

स ग म प नि प सं — सं नि प म ग स.

(See Shuddha Dhanyasi).

UMABHARANA

189

Hindustani

There is no Hindustani raga called Umabharana. This Karnatak raga can be introduced into Hindustani sangeet under Khamaj That.

Karnatak

Umabharana is a janya of the 28th Melakarta Harikamboji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani. Its jati is Sampoorna-Shadava with vakra sanchara in avaroha. Aroha and avaroha of Umabharana are,

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

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

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

Umabharana is not a popular raga. The following composition however is well known and often heard.

Nijamarmulanu Delisinavari Nee (Telugu)—Adi Tala —Tyagaraja.

190

RAGANIDHI

URMIKA

Hindustani

There is no Hindustani raga called Urmika. If Dh is completely left out in the raga Simhendramadhyam, then the Karnatak raga Urmika results. Urmika has the following aroha and avaroha,

स रि ग़ म प निसं — सं नि प म ग रि स.

(See Simhendramadhyam).

Urmika has some resemblance to Madhuvanti of Hindustani. In Madhuvanti Dh is used and it is Tivra (See Madhuvanti).

Karnatak

Urmika is a janya of the 57th Melakarta Simhendramadhyama (ri, gi, mi, dha, nu). Jati of Urmika is Shadava-Shadava. Dh is not used in either aroha or avaroha. Aroha and avaroha of Urmika are,

स रि₂ ग₂ म₂ प नि₂ सं — सं नि₃ प म₂ ग₂ रि₂ स.

Svaras used are Chatushruti Ri, Sadharana Ga, Prati Ma and Kakali Ni. According to Hindustani notation, the aroha and avaroha are,

स रि ग़ म प निसं — सं नि प म ग़ रि स.

This is not a familiar raga. The following composition is sometimes heard in raga Urmika.

Kala Ratri Svaroopini Amba (Kanarese)—Adi Tala

—Muthiah Bhagavatar.

USHAVALI

Hindustani

There is no Hindustani raga called Ushavali. Ushavali has the following aroha and avaroha and has some resemblance to the Hindustani raga Jogia (See Jogia).

स रि म प ध़ सं — सं नि ध़ म प म रि स.

Karnatak

Ushavali is a janya of 15th Melakarta Mayamalavagaula (ri, gu, ma, dha, nu) which corresponds to Hindustani Bhairav

191

UTARI BASANT

That. Its jati is Audava-Shadava. Ga and Ni are not used in Aroha. In avaroha Ga is omitted. There is a vakra sanchar

ध़ म ग म in avaroha. Aroha and avaroha of Ushavali are,

स रि म प ध₁ सं — सं नि ध₁ म₁ प म₁ रि स.

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

स रि प ध़ सं — सं नि म प म रि स.

This is a pleasing raga. The following composition in Ushavali is available.

Malayaja Shitale (Sanskrit)—Adi Tala—C. Rangiah.

UTARI BASANT

Hindustani

This raga is obtained by using Komal Ga instead of Tivra Ga in the popular raga Basant. Ga is lowered. Hence it is called Utari Basant. Use of Komal Ga should be very carefully made. Otherwise the resulting raga will sound like Mooltani due to the svara group म ग म with Komal Ga. Other svaras and sancharas are like those in raga Basant. Chalan of Utari Basant is as under.

प — ध ग म ध — सं नि ध प — प ध नि ध प — म ध ग —

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

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

म घु नि म s — ध़ प — ग म — म ग — दि स.

Utari Basant is not a popular raga. The following compositions are available.

Ayo Phaguna Masa—Ek Tal (Vilambit)

—Tulsi Ram Devangan.

Na Maro Pichakari Kanhaiyya—Tri Tal (Madhya)

—Tulsi Ram Devangan.

192

RAGANIDHI

Karnatak

There is no Karnatak raga called Utari Basant nor one which resembles Utari Basant of North.

UTARI DESI

Hindustani

This is a kind of raga Desi in which only Komal Dh is used. In the aroha Tivra Ri is used while Komal Ri is used in avaroha (See Desi).

Karnatak

There is no Karnatak raga called Utari Desi nor one which resembles the above Hindustani raga.

UTARI GUNAKALI

Hindustani

Utari Gunakali belongs to Bhairavi That (Hanumatodi). This is a mixture of Asavari and Bhairavi ragas. Svaras groups Ṛ, M - Ṉ and S Ḍ are suggestive of Asavari. The style of presentation of this raga should be after Bhairavi style. This is not a popular raga.

Bhatkhande gives the "Chalan" of this raga as under.

म ग म प - ध प धु म - म ध प म - ग म स ति नि स रि ग म - प धु नि स - नि ध प म - प धु नि स - ध - प ।

ग रि - स - नि स - ध प - स - म ग - म ग - म ध - नि स - धि - स - ध प - प धु नि स - ध नि - ध प ।

A composition in this raga is,

Tana Nadir Dir Tom-Tri Tal (Madhya).

Karnatak

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

193

VACHASPATI

Hindustani

This Karnatak raga is now becoming popular in the North particularly among Sitarists and Sarodists.

Vachaspathi consists of Kalyan in poorvanga and Khamaj in uttaranga. Its jati is Sampoorna-Sampoorna. Aroha and avaroha of Vachaspati are,

स रि ग म प ध नि स — इनि ध प म ग रि स.

Svaras used are Tivra Ri, Tivra Ga, Prati, Ma, Tivra Dh and Komal Ni. As the raga is not yet popular among vocalists no composition with Sahitya is available.

Karnatak

Vachaspati is Melakarta No. 64 of Karnatak sangeet (ri, gu, mi, dhi, ni). Its old name is Bhushavati. Aroha and avaroha of Vachaspati are,

स रि2 म2 प ध2 नि2 स — स नि2 ध2 प म2 ग2 रि2 स.

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

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

Vachaspati is a fairly popular raga although a difficult one. The following composition is popular.

Pahi Jagajjanani Santatam (Sanskrit)—Adi Tala

—Swati Tirunal.

VAGADEESHVARI

Hindustani

There is no Hindustani raga called Vagadeeshvari nor one which resembles this Karnatak raga. Vagadeeshvari sounds like a mixture of Hindustani ragas Jog and Khamaj in poorvanga and uttaranga respectively. Aroha and avaroha of this raga are,

स ग म म प ध नि स — स नि ध प म ग रि स.

194

RAGANIDHI

Karnatak

Vegadeeshvari is Melakarta No. 34 (ru, gu, ma, dhi, ni) of Karnatak sangeet. Its old name is Bhogachayanata. Aroha and avaroha of this raga are,

स ri़1 ग2 म1 प ध2 नि3 सं — सं नि3 ध2 प म1 ग2 ri़1 स.

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

स ऋ1 ग म प ध नि सं — सं नि ध प म ग ऋ1 स.

In the above notation, Komal Ga (ग ) represents Shatsruti Ri (ऋ1) of Karnatak sangeet. This is a pleasing raga possessing Karuna rasa.

Compositions in this raga are,

Paramatmudu (Telugu)—Adi Tala—Tyagaraja.

Shree Janaki (Kanarese)—Adi Tala—V. Venkatagiriappa.

Vagadeeshvari and Vageeshvari are two different ragas.

VAKULABHARANA

Hindustani

There is no Hindustani raga called Vakulabharana nor one which resembles this Karnatak raga. Vakulabharana is obtained by combining ragas Bhairav and Bhairavi in poorvanga and uttaranga respectively. Aroha and avaroha of this combination will be as under,

स ri़1 ग2 म1 ध1 नि3 सं — सं नि3 ध1 प म1 ग2 ri़1 सं.

Karnatak

Vakulabharana is Melakarta No. 14 of Karnatak sangeet (ra, gu, ma, dha, ni). Its old name is Dhati Vasantha Bhairavi. Its aroha and avaroha are,

स ri़1 ग2 प ध1 नि2 सं — सं नि2 ध1 प ग2 म1 ri़1 स.

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

स ऋ1 ग म प ध1 नि सं — सं नि ऋ प म ग ऋ स.

195

VALAJI

Vakulabharana is not a popular raga. The following composition is sometimes heard.

Ye Ramuni Nammitino (Telugu)—Triputa Tala—Tyagaraja.

VALAJI

Hindustani

There is no Hindustani raga called Valaji. This is a pleasing Karnatak raga which has got the same aroha and avaroha as Kalavati of Hindustani as under.

स ग म प नि सं — सं नि ध प म ग स.

(See Kalavati).

Karnatak

Valaji is a janya of the 16th Melakarta Chakravaka (ra, gu, ma, dhi, ni). Jati of Valaji is ‘Audava-Audava. Ri and Ma are omitted in both aroha and avaroha. Aroha and avaroha of Valaji are,

स ग2 प ध2 नि2 सं — सं नि2 ध2 प ग2 स.

Svaras used are Antara Ga, Chatsruti Dh and Kaisiki Ni. According to Hindustani notation, the above aroha and avaroha are,

स ग प ध नि सं — सं नि ध प ग स.

Raga Valaji sounds like the raga Malayamaruta. But In Malayamaruta Ri is used. In Valaji the jaru or slide from Ga to Sa as ग स sounds beautiful. Although it is a very pleasing raga it is not very popular. The following compositions are occasionally heard.

Pancha Mukha Paripalitoham (Sanskrit)

—Muttuswamy Dikshitar.

Jalandhara Supeethasthe Jaba Kusuma Bhasure (Kanarese)

—Rupaka Tala—Muthiah Bhagavatar.

196

VANASPATI

Hindustani

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

Karnatak

Vanaspati is Melakarta No. 4 of Karnatak sangeet (ra, ga, ma, dha, ni) whose old name is Bhanumati. Aroha and avaroha of this raga are,

म रि ग म प ध नि सं - सं नि3 ध2 प म1 ग रि1 स.

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

स रि म प ध नि सं - सं नि ध प म रि स.

(In the above notation, Tivra Ri (र) represents Suddha Ga (ग2) of Karnatak system).

Vanaspati is not a popular raga. The following composition in Vanaspati is sometimes heard.

Pariyachakama (Telugu)—Rupaka T'ala—Tyagaraja.

VARALI

Hindustani

There is no Hindustani raga called Varali nor one which resembles this Karnatak raga. Raga Varali of North is altogether a different raga.

Karnatak

Raga Varali is different from the raga Shubhapantuvarali which is called Varali by laymen. Varali is derived from the 39th Melakarta Jhalavarali (ra, ga, mi, dha, nu). Its jati is Sampoorna-Sampoorna with vakra sancharia in aroha. Aroha and avaroha of Varali are,

स ग1 रि2 ग1 म2 प ध1 नि2 सं - सं नि3 ध2 प म2 ग1 रि1 स.

VARATI

Hindustani

Varati belongs to Marwa That (Gamanashrama). Its jati is Audava-Audava. Pa and Ni are not used. Aroha and avaroha of Varati are,

स रि ग म ध सं - सं ध प म ग रि स.

रि स - रि ध स.

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

ध ग5 रि5 - म ग - म ग रि ग - म ध स.

In avaroha Ga is kept weak or “durbal”. Vadi is Dh and Samvadi Ri. Sangatis ग रि and म ग are beautiful. Andolan on Ri is a feature of this raga. This is a very pleasing raga and deserves greater popularity than it is given at present. A composition in Varati is,

Piya Bina Mohe Kacchu—Tri Tal (Madhya).

Hindustani raga Varari or Barari is altogether different from Varati (See Barari). Hindustani ragas Marwa and Poorva Kalyan resemble Varati.

Marwa—Ni is used (See Marwa).

Poorva Kalyan—Pa and Ni are used (See Poorva Kalyan).

Karnatak

There is no Karnatak raga called Varati. Raga Patalambari which is a janya of the 52nd Melakarta Ramapriya is an Audava-Audava raga having the following aroha and avaroha

197

198

RAGANIDHI

and resembles Varati of Hindustani very closely. It is not a popular raga.

स ri ग ri म ri ध ri सं — सं ध ri म ri ग ri स.

Popular raga Hamsanandi also resembles Hindustani raga Varati. In Hamsanandi Ni is used in both aroha and avaroha as under,

स ri ग ri म ri ध ri नि सं — सं नि ri ध ri म ri ग ri स.

(Sec Hamsanandi)

Poorvi Kalyani of South has some resemblance to Varati. But in Poorvi Kalyani Pa and Ni are used (See Poorvi Kalyani).

VARDHANI

Hindustani

There is no Hindustani raga called Vardhani nor one which resembles this Karnatak raga. Vardhani is a pleasing raga and it can easily be absorbed into Hindustani sangeet.

Karnatak

Vardhani is a janya of the 11th Melakarta Kokilapriya (ra, gi, ma, dhi, nu). Its jati is Shadava-Shadava with vakra sancharas in both aroha and avaroha. Ri is not used. Aroha and avaroha of Vardhani are,

स ri ग2 म1 प ध2 नि2 सं — सं नि2 ध2 प म1 ग2 स.

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

Sadharana Ga and Chatusruti Dh are the jeeva svaras of this raga. This is not a popular raga but a pleasing one.

A composition in this raga is,

Manasa Mana Samarthyamu (Telugu)—Rupaka Tala —Tyagaraja.

199

VARUNAPRIYA

Hindustani

There is no Hindustani raga called Varunapriya.

Karnatak

Varunapriya is the 24th Melakarta (ri, gi, ma, dhu, nu). Its old name is Veera Vasantha. Its jati is Sampoorna-Sampoorna. Aroha and avaroha are,

स ri ग2 म1 प ध2 नि2 सं — सं नि2 ध2 प म1 ग2 ri स.

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

स ri ग म प नि सं — सं नि प म ग ri स.

In above, Komal Ni (ri) represents Shatsruti Dh (ध2) of South.

A composition in this raga is,

Samashrayami Sada (Sanskrit)—Khanda Jati Eka Tala —Balamuralikrishna.

VASANTHA

Hindustani

There is a raga Basant in Hindustani sangeet. Hindustani raga Vasant or Basant is entirely different from the Karnatak raga Vasantha (See Basant). Hindustani raga Shuddha Sohoni resembles the Karnatak raga Vasantha. In Shuddha Sohoni only Komal Ma and Tivra Dh are used. Aroha and avaroha of Shuddha Sohoni are,

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

(See Shuddha Sohoni).

Karnatak

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

of Hindustani. Jati of Vasantha is Audava-Shadava. In

aroha Ri and Pa are not used. In avaroha Pa is not used.

Aroha and avaroha of Vasantha are,

स ग म1 ध1 नि2 सं—सं नि3 ध1 म1 ग3 रि1 स.

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

Suddha Dh and Kakali Ni. According to Hindustani notation

the above aroha and avaroha are,

स ग म ध नि सं—सं नि ध2 म 5 ग रि स.

In this raga Ma is elongated in avaroha. As it is difficult

to use Suddha Dh (Komal Dh) in this raga Chatsruti Dh

gets in. There is a lot of controversy and difference of opinion

regarding the svaras used and hence the Melakarta to which

raga Vasantha should belong. Majority of opinion is in favour

of its being placed under Mayamalavagaula. This is a fairly

popular raga and a pleasing one. Compositions in this raga are,

Yetla Dorakitivo (Telugu)—Adi Tala—Tyagaraja.

Ramachandram Bhavayami (Sanskrit)—Rupaka Tala

—Muttuswamy Dikshitar.

Karnatak raga Lalitha resembles Vasantha very closely.

There is difference of opinion regarding svaras used in these

two ragas. But majority of opinion is as under.

Lalitha--Ri is used in aroha also. Chatsruti Dh is used. Dh

is more important than Ma unlike Vasantha (See Lalitha).

VASANTHA BHAIRAVI

Hindustani

There is no Hindustani raga called Vasantha Bhairavi.

This Karnatak raga can be formed by combining svaras of

Bhairav and Bhairavi Thats in poorvanga and uttaranga

respectively. Pa may be omitted in aroha. Aroha and

avaroba of the raga obtained corresponding to the Karnatak

raga Vasantha Bhairavi are,

स रि2 ग म ध नि सं—सं नि3 ध1 नि2 ग म प म ग3 रि1 स or

सं नि3 ध प म ग रि स.

The name Vasantha Bhairavi suggests two things. (a) That

it may be a Hindustani raga although not popular at present.

(b) That it is a combination of two ragas Basant and Bhairavi.

We find the poorvanga having svaras used in Bjsant and in the

uttaranga svaras of Bhairavi. Moreover in this raga there is

absolutely no chaya of Karnatak raga Bhairavi.

Hindustani raga Basant Mukhari resembles the Karnatak

raga Vasantha Bhairavi. Vasantha Bhairavi closely resembles

Vasantha Mukhari of South (See Basant Mukhari).

Karnatak

Vasantha Bhairavi is a janya of the 14th Melakarta Vakulab-

harana (ra, gu, ma, dha, ni). Its jati is Shadava-Sampoorna

with or without vakra sanchara in avaroha. Pa is omitted in

aroha. Aroha and avaroha of Vasantha Bhairavi are,

स रि1 ग3 म1 ध1 नि2 सं—सं नि2 ध1 नि2 ध1 प म1 ग3 रि1 स or

सं नि3 ध प म1 ग3 रि1 स.

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

Suddha Dh and Kaisiki Ni. According to Hindustani notation,

the above aroha and avaroha are,

स रि2 ग म ध नि सं—सं नि2 ध2 नि2 ध2 प म प म ग रि म or

सं नि2 ध प म ग रि म.

Vasantha Bhairavi is a pleasing raga. Yet it is not a popular

one. The following compositions are sometimes heard.

Nee Daya Kalgute (Telugu)—Adi Tala—Tyagaraja.

Vande Jagadambike (Sanskrit)—Khanda Jhampa Tala

—Jayachamaraja Wadiyar.

Vasanta Bhairavi closely resembles the Karnatak raga

Vasantha Mukhari, which is a janya of the 14th Melakarta

Vakulabharana (See Basant Mukhari).

202

RAGANIDHI

VASANTHA KEDAR or BASANT KEDAR

Hindustani

This raga is formed by combining the two ragas Basant or Vasantha and Kedar. The Kedara anga is more prominent than that of Vasantha. Its poorvanga is Basant and uttaranga Kedar. Its jati is Shadava-Sampoorna. In aroha Ga is omitted. Aroha and avaroha of Vasantha Kedar are,

स ri स म - म प ध नि सं - सं नि ध प - ध् म प - म प ध, - प म ग ri स.

Svaras used are both Komal and Tivra Ri, Tivra Ga, both Suddha and Prati Ma, both Komal and Tivra Dh and Tivra Ni. Pakad or Gunjan svara groups are,

स ri स म - म प - ध् स - प म - ग ri गा.

Vadi is Ma and Samvadi Sa. This raga is sung during the second prahara of night. Alap of this raga commences with Kedar anga स ri स स. At the end of the Alap, Basant anga is introduced as, म ग म प - म ग ri स.

A composition in Vasantha Kedar is,

Maha Chita Chora Nayanaki—Teen Tal (Madhya).

Karṇatak

There is no Karnatak raga called Basant Kedar nor one which resembles this Hindustani raga.

VASANTHA SHREE or AMBAMANOHARI

Hindustani

There is no Hindustani raga called Vasantha Shree or Ambamanohari. If Tivra Ni is substituted for Komal Ni in raga Shudda Bageshree, the resulting raga is Vasantha Shree or Ambamanohari.

Shuddha Bageshree—

स ri ग् म ध नि सं - सं नि ध म ग् ri स.

Vasantha Shree or Ambamanohari--

स ri ग् म ध नि सं - सं नि ध म ग ri स.

203

VASANTHA VARALI

Karnatak

Vasantha Shree (name given by Shri R. Sreenivasan) or Ambamanohari (mentioned by Shri T. Singarachar) belongs to the 23rd Melakarta Gaurimanohari (ri, gi, ma, dhi, nu). Its jati is Shadava-Shadava. Pa is not used. Aroha and avaroha are,

स ri2 ग म1 ध नि3 सं - सं नि3 ध म1 ग ri2 स.

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

स ri ग म ध नि सं - सं नि ध म ग ri स.

Uttaranga has chaya of Vasantha. A composition in this raga is,

Adi Antamillade Purulai (Tamil)—Mista Chapu Tala

—R. Sreenivasan.

Vasantha Shree sounds like Shriranjini in which Kakali Ni is substituted for Kaisiki Ni.

VASANTHA VARALI

Hindustani

There is no Hindustani raga called Vasantha Varali. If raga Asavari is sung with Ma omitted in avaroha then it will sound like the Karnatak raga Vasantha Varali of one type. Aroha and avaroha of this type are,

स ri म प ध सं - सं नि ध प नि स.

(See Asavari).

Karnatak

Vasantha Varali is a janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which corresponds to Asavari That of Hindustani. Its jati is Audava-Shadava. Ga and Ni are omitted in aroha. In avaroha Ma is not used. Aroha and avaroha of Vasantha Varali of this type are,

स ri2 म1 प ध1 सं— सं नि2 ध1 प म2 ri2 स.

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RAGANIDHI

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

स रि म प ध सं — स नि ध प म रि स.

This raga almost resembles Asavari of North. Only Ma is not used in avaroha. While singing Asavari, even in Hindustani sangeet, in avaroha Ma is not prominent. Sanchara

ष व ण ५ रि ष with Ma silent is in evidence.

There is another type of Vasantha Varali which has the same aroha and avaroha as the type mentioned above but it is a Nishadantya type. Its aroha and avaroha are as under.

स रि म प ध नि — नि ष प म रि स नि.

Svaras used are the same as those in the first type. Vasantha Varali is not a popular raga. The following composition is in the Nishadantya type of Vasantha Varali.

Pahi Rama Doota (Telugu)—Rupaka Tala—Tyagaraja.

VEDAGHOSHAPRIYA

Hindustani

There is no Hindustani raga called VedaghoshaPriya. This rare Karnatak raga with its limited sanchara is an interesting one.

Karnatak

VedaghoshaPriya is a janya of the 28th Melakarta Hari-kambhoji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Its jati is Sampoorna-Sampoorna but the sanchara is limited from Mandra Pa to Madhya sthayee Ma. Aroha and avaroha are,

षु लि2 स नि2 ग2 म1 — प म1 ग2 रि2 स नि2 धु नि2 प.

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

षु नि2 रि2 ग म — प म रि2 स नि2 धु नि2 प.

VEDANDAGAMANA

205

Vakra sanchara स नि, ध नि sounds nice. This raga resembles Jinjoti.

It is stated that some Utsavasampradaya Kritis of Tyagaraja used to be sung in VedaghoshaPriya.

VEDANDAGAMANA

Hindustani

There is no Hindustani raga called Vedandagamana. Popular raga Tilang resembles the two Karnatak ragas Gambhiranata and Vedandagamana, both of which have the same aroha and avaroha. In Tilang, in aroha Tivra Ni and in avaroha Komal Ni are used. In Gambhiranta and Vedandagamana only Tivra Ni is used in both aroha and avaroha. Aroha and avaroha of Tilang are,

स ग म प नि सं — सं नि प म ग स.

(See Tilang)

Karnatak

Vedandagamana is a janya of the 29th Melakarta Dheera-sankarabharana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bilaval That. Its jati is Audava-Audava. Ri and Dha are not used. Aroha and avaroha are,

स ग2 म1 प नि8 सं — सं नि8 प म1 ग2 स.

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

स ग म प नि सं — सं नि प म ग स.

A composition in Vedandagamana is,

Vanajaksha Neeyanuparna (Telugu)—Varnam—Adi Tala --Mysore V. Venkatagiriappa.

Karnatak raga Gambhiranata which is a janya of the 36th Melakarta Chalanata (ru, gu, ma, dhu, nu) also has the same aroha and avaroha as Vedandagamana. Some are of the opinion that Ga and Ni in Chalanata are slightly higher in pitch than in Vedandagamana.

206

RAGANIDHI

VEENADHARI

Hindustani

There is no Hindustani raga called Veenadhari. If Ma is omitted in the raga Ahir Bhairav of North in aroha only, then the resulting raga resembles Veenadhari of South (See Ahir Bhairav). Veenadhari is also obtained by including Ma in the avaroha of raga Malayamaruta which is becoming popular in the North (See Malayamaruta).

Karnatak

Veenadhari is a janya of the 16th Melakarta Chakravaka (ra, gu, ma, dhi, ni). Its jati is Shadava-Sampoorna. Ma is omitted in aroha. Aroha and avaroha of Veenadhari are,

स रि₁ ग₂ प ध₁ नि₂ सं — सं नि₂ ध₂ प म₁ ग₂ रि₁ स.

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

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

Veenadhari resembles Malayamaruta in aroha and Chakravaka in avaroha. This is not a popular raga. The following composition in Veenadhari is available.

Girija Deviya Bhajiselo Manuja (Kañarese)—Adi Tala

—Muthiah Bhagavatar.

VEERAVASANTHA

Hindustani

There is no Hindustani raga called Veeravasantha. It is a pleasing raga and can be absorbed into Hindustani sangeet.

Karnatak

Veeravasantha is the old name for the 24th Melakarta Varunapriya. Veeravasantha is derived from the 24th Melakarta Varunapriya (ri, gi, ma, dhu, nu). Its jati is Audava-Sampoorna. Dha and Ni are omitted in aroha. Aroha and avaroha are,

स रि₂ ग₁ म₁ प से or स ग₂ रि₂ प सं — सं नि₃ ध₂ प म₁ ग₂ रि₂ स.

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

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

Veeravasantha is a pleasing raga but not a popular one. The following composition is sometimes heard.

Yemani Pogadudu (Telugu)—Adi Tala—Tyagaraja.

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VEGAVAHINI

Hindustani

There is no Hindustani raga called Vegavahini. If Pa is omitted in aroha of raga Ahir Bhairav then it will sound like raga Vegavahini of South (See Ahir Bhairav).

Karnatak

Vegavahini is a janya of the 16th Melakarta Chakravaka (ra, gu, ma, dhi, ni). Its jati is Shadava-Sampoorna. In aroha Pa is omitted. Aroha and avaroha of Vegavahini are,

स रि₁ ग₂ म₁ ध₂ नि₂ ध₂ से — सं नि₂ ध₂ प म₁ ग₂ रि₁ स.

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

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

Vegavahini is not a popular raga. The following composition in raga Vegavahini is available.

Challaga Nato (Telugu)—Adi Tala—Tyagaraja.

208

RAGANIDHI

VENI KEDAR

Hindustani

Veni Kedar is a rare raga which belongs to Bilaval That (Dheerasankarabharana). Its jati is Sampoorna-Sampoorna. Aroha and avaroha of Veni Kedar are,

स ri - ग s ग म म प - म ध नि स -

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

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Tivra Ni is used in aroha and Komal Ni in avaroha. There are vakra sancharas in both aroha and avaroha. Vadi is Ma and Samvadi Sa. This raga is sung during the second prahara of night. Chalan of this raga is as under.

म रि रि स - नि स रि रे - ग स रि ग - म म प - प ग - म म रि रि स ॥

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

म म म - घ s सं सं - सं नि गं गं - री - सं s - म ध प ध - नि प प म -

ग म म म - म म रि रि स ॥

A composition in Veni Kedar is,

Apane Prabhuko Aj—Tri Tal (Vilambit).

Karnatak

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

VIBHAVARI

Hindustani

This new Hindustani raga has been introduced by Sri Narayanarao Patwardhan. It can be said to belong to the Karnatak Melakarta Chakravaka which corresponds to raga Abir Bhairav of Hindustani. Its jati is Audava-Audava. Ma and Dh are omitted.

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VIBHAVARI

Vibhavari is a combination of Bibhas in poorvanga and Sarang in uttaranga. Aroha and avaroha are,

स ri ग प नि सं - सं नि ग ri स.

Svaras used are Komal Ri, Tivra Ga, and Komal Ni. Vadi is Sa and Samvadi Pa. It is a morning raga. A composition in Vibhavari is,

Dina Raina Kachu Na Suhave—Ek Tal (Vilambit)

—Narayanarao Patwardhan.

Karnatak

There is a Karnatak raga called Vibhavari which belongs to the 6th Melakarta Tanarupi (ra, ga, ma, dhu, nu). Its jati is Audava-Audava. Aroha and avaroha are,

स ri म2 प3 सं - सं ध2 प3 म1 ri स1.

Svaras used are Suddha Ri, Suddha Ma, and Shatsruti Dh. According to Hindustani notation the aroha and avaroha are,

स ri स प नि सं - सं नि प म ri स.

In the above notation Komal Ni(फ) represents Shatsruti Dh of Karnatak.

From the Hindustani point of view the Karnatak raga Vibhavari is not different from the Karnatak raga Rewati although they may belong to two different Melakartas of South. Vibhavari of South and Rewati of South both resemble the Hindustani raga Bairagi Bhairav (See Bairagi Bhairav and Rewati).

Karnatak raga Vibhavari has no resemblance to the Hindustani raga Vibhavari described above. It is not a popular raga.

Hindustani raga Vibhavari has the same aroha and avaroha as raga Lasaki which is a janya of the 14th Melakarta Vakula-bharana. Its jati is Audava-Audava. Aroha and avaroha according to Hindustani notation are,

स ri ग प नि सं - सं नि प ग ri स.

14

210

RAGANIDHI

VIDHYESHVARI

Hindustani

We owe this raga to Sri Vasantha Annaji Vaidya. It belongs to Kafi That (Kharaharapriya). Its jati is Shadava-Shadava. Ga is omitted. Aroha and avaroha are,

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

ष रि म - म प म - प नि ध सं - सं ध - म प म - स रि म - स रे नि - दि स.

Svaras used are Tivra Ri, Suddha Ma, Tivra Dha, and Komal Ni. Vadi is Ma and Samvadi Sa. Vakra sancharaṣ प नि, ध सं and सं नि ध sound nice, and should be repeatedly used. Svaragroups ending with Ma elongated as स रि म ṣ and म प म ṣ give a Suddha Malhar touch. Pakad or diagnostic svaragroups are,

म प म - प नि ध - स रि म - दि नि स.

This is a night raga. Compositions in this raga are,

Mo So Na Bolare More Pathikava—Jhaptāl (Madhya)

—V. A. Vaidya.

Payaliya Baji Mori—Teen Tāl (Madhya)—V. A. Vaidya.

Karnātak

There is no Karnatak raga called Vidyeshvari nor one which has any great resemblance to it.

VIJAYANAGARI or VIJAY

Hindustāni

This Karnatak raga has been introduced into Hindustani sangeet by Sri Umdekar of Gwalior. It belongs to Dharmavati Melakarta of South. Its jati is Shadava-Shadava. Ni is omitted in this raga. Aroha and avaroha of raga Vijay or Vijayanagari are:

स रि ग़ म प ध सं - सं ध प म ग़ रि स.

Svaras used are Tivra Ri, Komal Ga, Tivra Ma and Tivra Dha. Vadi is Sa and Samvadi Pa. This is an evening raga. In this raga chāyas of ragas Shivaranjini, Mooltani and

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VIJAYASARASVATI

Madhuvanti are found. The following compositions are available in raga Vijayanagari.

Sajana Ghara Avo—Ek Tāl (Vilambit)—S. A. Mahadkar.

Sakhi Ayengi More Sajana—Tri Tāl (Madhya)

—S. A. Mahadkar.

Karnātak

Vijayanagari belongs to the 59th Melakarta Dharmavati (ri, gi, mi, dhi, nu). Its jati is Shadava-Shadava. Ni is omitted in both aroha and avaroha. Aroha and avaroha of Vijayanagari are,

स रि ग₂ म₂ प ध₂ - सं ध₂ प म₂ ग₂ रि स.

Svaras used are Chatushruti Ri, Sadharana Ga, Prati Ma and Chatushruti Dha. According to Hindustani notation, the above aroha and avaroha are,

स रि ग़ म प ध सं - सं ध प म ग़ रि स.

Chatushruti Dha and Sadharana Ga are the Jeeva svaras. This is not a popular raga. The following composition in Vijayanagari is however frequently heard.

Vijayambike (Kanarese)—Adi Tala—Muthiah Bhagavatar.

VIJAYASARASVATI

Hindustani

There is no Hindustani raga called Vijayasarasvati. It is an interesting raga. It sounds like a combination of Mooltani and Simbendramadhyam ragas. Aroha and avaroha of Vijayasarasvati are

स ग़ प ध नि स - सं नि प म ग़ रि स.

Karnātak

Vijayasarasvati is a janya of the 57th Melakarta Simhendra-madhyama (ri, gi, mi, dha, nu). Its jati is Shadava-Shadava. In aroha Ri is omitted and in avaroha Dha is not used. This is not a popular raga. Its aroha and avaroha are,

स ग₂ म₂ प ध₁ नि₂ सं - सं नि₂ प म₂ ग₂ रि₂ स.

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

स रि2 प ध नि सं - सं नि प म ग रि स.

A composition in this raga is, Sharanam Vijaya (Sanskrit)—Adi Tala -Muthiah Bhagavatar.

VIJAYASHREE

Hindustani

There is no Hindustani raga called Vijayashree. Hindustani raga Shree has some resemblance to the Karnatak raga Vijaya-shree. In Shree of North, Db is used in avaroha. Ga which is used only in avaroha is Tivra while it is Komal in Vijayashree. Aroha and avaroha of Shree of Hindustani sangeet are,

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

(See Shree).

Vijayashree has got cbaya of raga Todi of North, particularly in its poorvanga (See Todi).

Karnatak

Vijayashree is derived from the 47th Melakarta Suvarnangi (ra, gi, mi, dhi, nu). Some consider that Vijayashree is a janya of the 41st Melakarta Vanis (ra, ga, mi, dhi, nu). As sung at present Sadharana Ga is used. Hence it is put under Suvar-nangi. Jati of this raga is Shadava-Shadava. Dh is omitted in both aroha and avaroha. Aroha and avaroha of Vijayashree are,

स रि1 ग2 म प ध नि2 - सं नि2 प म2 ग2 रि1 स.

Svaras used are Suddha Ri, Sadharana Ga, Prati Ma, and Kakali Ni. Sadharana Ga and Kakali Ni are the Jeeva svaras of this raga. According to Hindustani notation, the above aroha and avaroha are,

स रि म प नि धं - सं नि प म ग रि स.

The following composition in Vijayashree is very popular, Vara Narada Narayana (Telugu)—Adi Tala—Tyagaraja.

VIJAYA VASANTHA

Hindustani

There is no Hindustani raga called Vijaya Vasantha. This is an interesting raga having angas of Mia Malhar and Hindol ragas. Aroha and avaroha are,

स म प नि सं - सं नि प म ग स.

Karnatak

Vijaya Vasantha is a janya of the 54th Melakarta Vishwambhari (ra, gu, mi, dhu, nu). Its jati is Audava-Audava. In aroha Ri and Ga are omitted. In avaroha Dh and Ri are not used. Aroha and avaroha are,

स म2 प ध2 नि2 सं - सं नि2 प स2 ग2 स.

Svaras used are Antara Ga, Prati Ma, Shatsruti Dh and Kakali Ni. According to Hindustani notation, aroha and avaroha are,

स म प नि सं - सं नि प म ग स.

This is a pleasing raga and deserves popularity. A composition in this rare raga is, Vimalambike Paripahi (Sanskrit)—Adi Tala -Jayachamaraja Wadiyar.

VIRANCHIMUKHA

Hindustani

This rare raga belongs to Kalyan That (Mechakalyani). Its jati is Audava-Shadava. In aroha Ri and Dh are omitted. In avaroha Dh is dropped. Aroha and avaroha of this raga are,

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

Svaras used are Tivra Ri, Tivra Ga, both Suddha and Prati Ma and Tivra Ni. Pakad or Gunjan svara groups are,

स ग रि प - नि सं - प म ध - स म.

Vadi is Ga and Samvadi Ni. Sometimes slight use of Dh is used according to rules of Vivadi notes. But it is better

not to use Dh. This raga is sung during the second prahara of night.

In Viranchimukha chayas of ragas Bihag and Maru Bihag are found. This is not a popular raga. A composition in this raga is,

Pala Nahi Lagi Akhiya--Tri Tal (Madhya).

Hindustani raga Bihag is allied to Viranchimukha.

Bihag--Dh is used. Svaragroup प ढ़ स is not used (See Bihag).

Karnatak

There is no Karnatak raga called Viranchimukha. The only Karnatak raga which has some resemblance to Viranchimukha is the raga Bihag (See Bihag).

VISHVAMBHARI

Hindustani

There is no Hindustani raga called Vishvambhari. This Karnatak raga sounds like Pooria Dhanashree in Poorvanga and Mia Malhar in Uttoranga.

Karnatak

Vishvambhari is the 54th Melakarta of Karnatak sangeet (ra, gu, mi, dhu, nu). Its old name is Vamshavali. Vishvambhari is a Sampoorna-Sampoorna raga. Aroha and avaroha are,

स रि₂ ग₂ म₂ प ध₂ नि₃ स - स नि₃ ध₂ प म₂ ग₂ रि₂ स.

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

स रि म प नि स - स नि प म ग रि स.

In above, Komal Ni (क) represents Shatsruti Dh (ध₂) of South.

A composition in Vishvambhari is,

Vijayatham Shree Rajarajeshwari (Sanskrit)--Khanda Triputa Tala--Jayachamaraja Wadiyar.

Bho Shambho Tavakeena Charanam (Sanskrit)--Adi Tala --Balamuralikrishna.

VIVARDHANI or VIVARDHINI

Hindustani

There is no Hindustani raga called Vivardhani. Aroha and avaroha of Karnatak raga Vivardhani resemble those of Tilak Kamod and Des respectively (See Tilak Kamod and Des).

Karnatak

Vivardhani is a janya of the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani.

Jati of Vivardhani is Chatusvari-Sampoorna. In aroha Ga, Dh and Ni are omitted. Aroha and avaroha are,

स रि₂ म₁ प सं - स नि₃ ध₂ प म₁ ग₁ रि₂ स.

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

स रि म प सं - स नि ध प म ग रि स.

Although this raga is not a popular one, the following composition is sometimes heard.

Abhimana Mennatu Galgu (Telugu)--Adi Tala--Tyagaraja.

Karnatak raga Kedaraula resembles Vivardhani.

Kedaraula--Ni is used prominently in aroha (See Kedaraula).

VYJAYANTI

Hindustani

This is a rare raga belonging to Kalyan That (Mechakalyani). Its jati is Audava-Audava. Ga and Dh are not used in this raga. Aroha and avaroha of this raga are,

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

Svaras used are all Tivra svaras. Vadi is Ri and Samvadi Pa. This raga is sung during the second prahara of night. This is a very pleasing raga and deserves to be popularised. Compositions in this raga are,

Tu Kareem Karatar—Ek Tal (Vilambit)—J. D. Patki.

Sun Sun Batiya—Trital (Madhya)—J. D. Patki.

Hindustani raga Shuddha Sarang, Salang and Shyama Kalyan resemble raga Vyjayanti.

Shuddha Sarang—Both Madhyamas are used. Dha is used in avaroha (See Shuddha Sarang).

Salang—Only Suddha Ma is used (See Salang).

Shyama Kalyan—Dha is used in aroha. Ga is used in avaroha (See Shyama Kalyan).

Karnatak

There is no raga called Vyjayanti in Karnatak sangeet. Raga Varata which is a janya of the 59th Melakarta Dharmavati (ri, gi, mi, dhi, nu) has got the same aroha and avaroha svaras as Vyjayanti of Hindustani.

सा रि म प नि सं — सं नि प म रि स.

Varata is not a popular raga. Raga Hamsanada, a janya of the 60th Melakarta Neetimati has the following aroha and avaroha. It resembles Vyjayanti of North as in actual practice Hamsanada is sung with Dha almost omitted. Aroha and avaroha of Hamsanada are,

सा रि म प नि सं — सं नि ध प म रि स.

In the above Komal Ni (ni) represents Shatsruti Dha (dha). Actually Hamsanada as sung at present has the following aroha and avaroha and resembles Vyjayanti of Hindustani and Varata of Karnatak.

सा रि म प नि सं — सं नि प म रि स.

YADUKULA KAMBODI

Hindustani

There is no Hindustani raga called Yadukula Kambodi.

Karnatak

Yadukula Kambodi is derived from the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani sangeet. Its jati is Audava-Sampoorna. Ga and Ni are omitted in aroha. Aroha and avaroha of Yadukula Kambodi are,

सा रि म प ध सं — सं नि ध2 प म1 रि1 सां स.

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

सा रि म प ध सं — सं नि1 ध प म ग रि स.

Suddha Ma and Chatsruti Dha in aroha and Kaisiki Ni, Antara Ga and Chatsruti Ri in avaroha are the raga chaya svaras. The following svara groups are characteristic of Yadukula Kambodi.

सा रि म स — रि म प ध — प ध सं प स — म ग रि स — प ध सं व प म — प नि स स — रि1 नि1 स स — प ध स स.

Although Kaisiki Ni is the svara to be used there is a touch of Kakali Ni in the svara group सां नि1 स स. Yadukula Kambodi is a popular raga. The following compositions are very often heard.

Hechharikaga Rara (Telugu)—Jhampa Tala—Tyagaraja.

Shree Rama Raghurama (Telugu)—Jhampa Tala

—Tyagaraja.

According to Dikshitar school, aroha of Yadukula Kambodi is Shadava. Only Ga is omitted. A composition in this type of Yadukula Kambodi is,

Tyagarajam Bhajare (Sanskrit)—Mishra Eka

—Muttuswamy Dikshitar.

218

RAGANIDHI

YAGAPRIYA

Hindustani

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

Karnatak

Yagapriya is Melakarta No. 31 of Karnatak sangeet (ru, gu, ma, dha, na). Its old name is Kalavati. Aroha and avaroha of this raga are,

स R2 त3 म1 प ध1 नि1 सं — स नि1 ध1 प म1 ग3 रि1 स.

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

स ग् म प ध् घ सं — सं घ् प म ग् र् स.

Komal Ga (ग्) represents Shatsruti Ri (R2) and Tivra Dh (ध्) represents Suddha Ni (Ni1) of South.

Yagapriya is not a popular raga. Compositions in this raga are,

Yashodeyam Vande (Sanskrit)—Chatusra Jhampa Tala

—Balamuralikrishna.

Shambho Sadashiva—Adi Tala—Kotishwara Iyer.

YAMAN KALYAN

Hindustani

This raga is also called Jaimani Kalyan. It is slightly different from raga Yaman or Kalyan. This raga belongs to Kalyan That (Mechakalyani). Its jati is Sampoorna-Sampoorna. Aroha and avaroha of Yaman Kalyan are,

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

All svaras are Tivra svaras. Komal or Suddha Ma is also used in avaroha in a special sanchara. This distinguishes Yaman Kalyan from raga Yaman or Kalyan. This sanchara is प म ग म रि स. In all other details Yaman Kalyan resembles Yaman or Eman.

219

YAMANI BILAVAL

Vadi is Ga and Samvadi Sa. This raga is sung during the first prahara of night.

Yaman Kalyan is a popular raga. The following is a popular composition.

Shree Shyama Sukha Dharna—Jhaptal.

Karnatak

There is a raga called Yamuna Kalyani in Karnatak sangeet. There are two types of this raga. In one type only Prati Ma is used and resembles Kalyani of South. In the second type Suddha Ma is also used as in Yaman Kalyan of Hindustani (See Yamuna Kalyani).

Hindustani raga Yaman Kalyan is also becoming popular in the South.

YAMANI BILAVAL

Hindustani

This raga belongs to Bilaval That. Its jati is Sampoorna-Sampoorna. There are vakra sanchras in both aroha and avaroha. Aroha and avaroha of Yamani Bilaval are,

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

All svaras are Tivra svaras excepting Ma of which both Suddha and Tivra are used. In avaroha only Suddha Ma is used and in aroha Prati Ma is also used.

This raga is a mixture of Yaman and Bilaval ragas. Vadi is Sa and Samvadi Pa. This is a morning raga. Svaragroups प - म’ प - ग म रि - ग रि स are characteristic of this raga. Commencement of compositions (उल्लाव) of this raga is as under.

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

This is a fairly popular raga. Compositions in this raga are,

Jab Sudha Ave Mitra Ki—Ek Tal (Vilambit).

Juga Juga Jeevore—Tilvada (Vilambit).

Bhora Bhayo Hai—Tri Tal (Madhya).

The following Hindustani ragaa are allied to Yamani Bilaval.

Yaman Kalyan--Komal Ma is used in aroha. Tivra Ma is used in both aroha and avaroha (See Yaman Kalyan).

Goud Sarang--Svara groups ऋ मि म and प स ऋ स are used (See Goud Sarang).

Bihag--Tivra Ma is not used in aroha but used in avaroha. Ri is not used in aroha (See Bihag).

Karnatak

There is no Karnatak raga called Yamani Bilaval. Karnatak raga Bihag has some resemblance to Yamani Bilaval of North. Bihag (Karnatak)--Komal Dh is also used (See Bihag).

YAMUNA KALYANI

Hindustani

There is a raga called Yaman Kalyan in Hindustani sangeet which is different from Yamuna Kalyani of South (See Yaman Kalyan).

Karnatak

Yamuna Kalyani is derived from the 65th Melakarta Mechakalyani (ri, gu, mi, dhi, nu) which corresponds to Kalyan That of Hindustani sangeet. There are two types of Yamuna Kalyani.

Jati of Type I Yamuna Kalyani is Shadava-Shadava. Ni is omitted in both aroha and avaroha. Aroha and avaroha of Yamuna Kalyani are,

ष ऋ2 ग2 म प ध2 सं -- सं ध2 प म2 प ग2 ऋ2 स.

Svaras used are Chaturasruti Ri, Antara Ga, Prati Ma and Chaturasruti Dha. According to Hindustani notation, the above aroha and avaroha are,

स ri ग प सं ध सं -- सं ध प मं प ri स.

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

Haridasulu Vedulu (Telugu)--Adi Tala--Tyagaraja.

Type II of Yamuna Kalyani.

According to Dikshitar school this type of Yamuna Kalyani is a Sampoorna-Sampoorna raga without any vakra sancharaa. A composition in this type is,

Jambupathe Mam Pahi (Sanskrit)--Triara Eka Tala --Muttuswamy Dikshitar.

Note--Above mentioned Kriti "Jambupate" is sung at the present day in Yaman Kalyan of Hindustani.

YOGINI

Hindustani

This raga is different from Yogia or Jogia. This rare raga belongs to Kalyan That (Mechakalyani). Jati of this raga is Audava-Audava. Ri and Dha are not used. Aroha and avaroha of Yogini are,

स ग म प नि सं -- सं नि प म ग स.

Svaras used are Tivra Ga, Prati Ma, and Komal Ni. Vadi is Ga and Samvadi Ni. This raga is sung during the first prahara of night. This is not a popular raga. A composition in this raga is,

Jagata Janani Bhavani--Tri Tala (Madbya)--Balaram Roy.

This raga sounds like Malashree with Komal Ni.

Malashree--Tivra Ni is used (See Malashree).

Karnatak

There is no Karnatak raga called Yogini. If in the popular type of raga Amritavarshini, Kaisiki Ni is used in place of Kakali Ni, the resulting aroha and avaroha will correspond to those of Yogini of North (See Amritavarshini).

Raga Hridini a janya of 64th Melakarta Vachaspati (ri, gu, mi, dhi, ni) is an Audava-Audava raga having the same svaras in aroha and avaroha as Yogini of Hindustani. Aroha and avaroha of Hridini are,

स ग म प नि सं -- सं नि प म ग स.

Hridini is not a popular raga.

APPENDIX

ABHAVATI

Hindustani

Abbavati belongs to Bhairavi That (Hanumatodi). Its jati is Audava-Sampoornas. Ri and Pa are omitted in aroha and avaroha of Abhavati are,

नि स ग म ध नि सं नि ध प म प ध नि स.

Svaras used are all Komal svaras. Pakad or diagnostic svara groups are,

नि स ग म ध नि म ग रे स.

Vadi svara is Ma. Samvadi is Sa. This is a morning raga. In this raga there is a chaya of Malakosh in aroha. Halt on Ma sounds beautiful. A composition in this raga is,

Gujari Gagara Bharani Chali—Tri Tal (Madhya)

—Shyama Pratap Bhatt.

Karnatak

There is no Karnatak raga called Abhavati, nor one which resembles this Hindustani raga. This raga sounds like a combination of Hindol a in aroha and Dhanyasi in avaroha.

ABHIRU

Hindustani

There is no Hindustani raga called Abhiru. There is a raga called Abbir or Abhiri which has no resemblance to the Karnatak raga Abhiru. Abhir resembles Abheri of South (See Abhir).

Karnatak

Abhiru is a rare raga. It is a janya of the 47th Melakarta Suvarnangi (ra, ri, mi, dhi, nu). Jati is Shadava-Shadava. In aroha Dhi is not used and in avaroha Ni is omitted. There are vakra sancharas in both aroha and avaroha. Aroha and avaroha are,

स रि1 ग3 म1 प ध1 सं - सं ध2 प म2 ग2 रि1 ग2 स.

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

स ri ग ri प मं प नि सं - सं ध प मं ग ri ग स.

In this raga the following sancharas are found.

स ri ग ri प नि सं - स ग ri - नि धि स - ग ri नि स - ध प म प नि स - ध प म ग स - ध प मं ग ri ग स.

A composition in Abhiru is,

Paripati Sri Rama (Sanskrit)—Rupaka Tala—C. Rangiah.

ADBHUT KALYAN

Hindustani

This is a rare raga. In this raga both the svaras Ma and Pa are omitted. Both Ma and Pa are not expected to be omitted in a raga. This raga is an exception and constructed as if it is a challenge to the above rule. This raga is an example of a "Niroshta" raga meant for "lipless" persons who cannot utter Ma and Pa.

Adbhut Kalyan belongs to Kalyan That (Mechakalyani). Its jati is Audava-Audava. Aroha and avaroha are,

स ri ग ri s नि सं - सं नि ध ri s - धि s स.

All avaras are Tivra svaras only. Sangati नि ध ri s is beautiful. Gamak in नि ध नि s - ध ri s is a feature. As both Ma and Pa are omitted it is difficult to expand this raga and create ranjakatwa. Vadi Sanchar is mostly in Madya and Mandra saptaks. Vadi vista ra is as under.

नि s स s - ध नि s - नि s प s s - नि ri s s - नि ध ri s - ग नि स ri ग ri s - नि ध ri s - ri s - स s - नि ध सं s s - नि ध ri s - ri स ri ध s - सं ri ग ri नि s ri सं etc.

A composition in this raga is,

Jaya Karatara—Dhrupad—Chautal.

Karnatak

There is no Karnatak raga called Adbhut Kalyan. Karnatak raga Putrika also called Niroshta which is a janya of the 29th Melakarta Dheerasankarabharana has the same aroha and avaroha as Adbhut Kalyan of Hindustani (See Niroshta).

AGNIKOPAM

Hindustani

There is no Hindustani raga called Agnikopam. This Karnatak raga resembles the Hindustani raga Dhani a variety of which uses Ri in avaroha (See Dhani). Aroha and avaroha of Agnikopam are,

स ग म प नि सं - सं नि प म ग ri स.

Karnatak

Agnikopam is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Kafi That of Hindustani. Its jati is Audava-Shadava. In aroha Ri and Dh are not used. In avaroha Dh is omitted. Aroha and avaroha of Agnikopam are,

स ग₂ म₁ प ध₁ नि₃ सं - सं नि₃ प म₁ ग₂ ri ग₃ स.

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

स ग म प नि सं - सं नि प म ग ri स.

A composition in this rare raga is,

Padmanabha Paripoorna Kama (Sanskrit)—Adi Tala—R. Sreenivasan.

Agnikopam resembles the following Karnatak raga s.

Udayaravichandrika and Suddha Dhanyasi—Ri is not used (See Udayaravichandrika and Suddha Dhanyasi).

Abheri—Dh is used in avaroha (See Abheri).

226

RAGANIDHI

AHIMOHINI

Hindustani

We owe this raga to Sri Kumar Gandharv. It is an interesting raga as the aroha and avaroha closely resemble those of the very popular Karnatak raga Bhairavi which uses Tivra Dh in aroha and Komal Dh in avaroha. Aroha and avaroha of Ahimohini are,

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

Svaras used are Tivra Ri, both Komal and Tivra Ga, Suddha Ma, both Komal and Tivra Dh and Komal Ni. Tivra Ga is used in aroha and Komal Ga in avaroha. Tivra Dh is used in aroha and Komal Dh in avaroha. Pakad or diagnostic svara groups are,

स - ri ग म - प ध प - ग ri ग - ri स.

Vadi is Ma and Samvadi Ni. It is a night raga. A composition in Ahimohini is,

Akhiya Ni Phero Saiyya—Tri Tal (Madhya)

—Kumar Gandharv.

Karnatak

There is no Karnatak raga called Ahimohini. Karnatak raga Bhairavi closely resembles this newly introduced raga of North. In Bhairavi also, in aroha Ga is slightly higher than Sadharana Ga. Avaroha of Ahimohini is exactly like that of Bhairavi. Many svara groups of Ahimohini resemble those of Karnatak raga Bhairavi.

AHIR LALIT

Hindustani

This is a rare raga. Ahir Lalit consists of a mixture of Ahir Bhairav and Lalit ragas. It belongs to Bhairav That (Mayamalavagaula). Its jati is Shadava—Shadava. Pa is omitted. Aroha and avaroha are,

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

नि ध प म - म ग ri - नि ri स.

227

APPENDIX

Svaras used are Komal Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dh and Komal Ni. Gunjan svara groups are,

ग म - ध नि ri स - नि ध म म - ग म ri स.

Use of ध म म with both Madhyama gives Lalit effect. Vadi is Komal Ma and Samvadi Sa. This is a morning raga. A composition in this raga is,

Ab Hu Na Aye Shyam—Japtal (Vilambit)—Ravi Shankar.

Raga Lalit Kali is allied to Ahir Lalit.

Lalit Kali—Dh is Komal. Both Komal and Tivra Ni are used (See Lalit Kalii).

Karnatak

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

This raga may be considered to be a Chyuta Panchama raga in which Prati Ma takes the place of Panchama when both Komal and Tivra Ma come together as घ सं म or सं म ग.

ALAIYA BAHAR

Hindustani

This jod or combined raga has been invented by late Shri R. S. Joshi of Nagpur. In this raga the two ragas Alaiya Bilaval and Bahar have been interwoven to give rise to this new raga which is pleasing. Aroha and avaroha of the two ragas Alaiya Bilaval and Bahar are,

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

Bahar.

नि स म गू म प गं सं नि सं - सं नि प - म प - म गू स ri स.

Pakad or diagnostic svara groups of the two ragas are,

Alaiya ग ri - ग प - ध नि सं.

Bahar म प - ग म - ध नि सं.

228

RAGANIDHI

It is a Shadava-Sampoorna raga. Ri is omitted in aroha.

Aroha and avaroha of the 'Samyukta" raga Alaiya Bahar are,

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

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

Suddha Ma, Tivra Dh, both Komal and Tivra Ni. Both

Alaiya and Bahar are uttaranga ragas. The bifurcating point

is at Pa. A composition in Alaiya Bahar is,

Koyaliya Bagiyame-Teental—R. S. Joshi.

Karnatak

There is no Karnatak raga called Alaiya Bahar, nor one

which resembles this newly introduced Hindustani raga.

ALANKARI

Hindustani

There is no Hindustani raga called Alankari. Karnatak

raga. Alankari corresponds to Hindol raga of Hindustani

(See Hindol).

Aroha and avaroha of Alankari are,

स ग मं ध नि ध स् - सं नि ध मं ग स.

Karnatak

Alankari is a rare raga. It is derived from the 53rd

Melakarta Gamanasrama (sa, gu, mi, dhi, nu) which

corresponds to Marwa That of Hindustani. Its jati is Audaya-

Audava with vakra sanchara in aroha. Svaras Ri and Pa are

omitted. Aroha and avaroha of Alankari are,

स ग₂ म₁ ध₂ नि₂ ध₂ स् - सं नि₂ प₂ म₁ ग₂ स.

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

Kakali Ni. According to Hindustani notation aroha and

avaroha are,

स ग म ध नि ध सं - सं नि ध म ग स.

A composition in Alankari is,

Navaratrotsava Vaibhave (Sanskrit)—Rupaka Tala

—Muthiah Bhagavatar.

229

APPENDIX

Karnatak Ragas Hamsanandi and Sunadavinodini resemble

Alankari.

Hamsanandi—Ri is used both in aroha and avaroha. There is

no vakra sanchara (See Hamsanandi).

Sunadavinodini—There is no vakra sanchara. Belongs to 65th

Melakarta Mechakalyani (See Sunadavinodini).

AMBIKA SARANG

Hindustani

Ambika Sarang belongs to Kafi That (Kharaharapriya).

Its jati is Shadava-Shadava. Ga is not used. Aroha and

avaroha are,

स रि मं प ध नि सं - सं नि ध प म रि स

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

Dh and Komal Ni. Occasionally Tivra Ni is used in aroha

in the sanchara नि ध प नि स. Prati Ma is used in aroha and

Suddha Ma in avaroha. Vadi is Pa and Samvadi Ri. Chalan

of this raga is as under.

स रि मं प - म रि स - रि मं प ध नि सं प म रि स - रि मं प - प नि ध नि सं - सं नि ध प - नि ध सं प - म रि स ॥

Ambika Sarang is not a popular raga.

Ambika Sarang has resemblance to Shuddha Sarang and

Shyam Kalyan ragas.

Shuddha Sarang—Only Tivra Ni is used (See Shuddha Sarang).

Shyam Kalyan—Only Tivra Ni is used (See Shyam Kalyan).

Karnatak

There is no Karnatak raga called Ambika Sarang nor one

which resembles this rare Hindustani raga.

230

RAGANIDHI

ANANDA BHAIRAVI

Hindustani

A rare raga called Ananda Bhairavi belongs to Asavari That (Natabhairavi) of Hindustani sāngeet. Raga Anand Bhairav is quite a difierent raga (See Anand Bhairav). Jati of Ananda Bhairavi is Shadava-Sampoorna. Ni is omitted in aroha.

स ri ग़ म प ध सं - सं नि ध प म ग ri स.

Svaras used are Tivra Ri, Komal Ga, Suddha Ma, both Komal Ni and Tivra Dha, and Komal Ni. Vadi is Pa and Samvadi Sa. This raga is sung during the third prahara of night. It is not a popular raga. The Maharashtra stage song Dehata Sharanagata (देहता शरणागती) from the play Manapaman is supposed to be the imitation of a song in Ananda Bhairavi of the South. As sung at present it has not got the Ananda Bhairavi svaroop. It is now sung like a mixture of Hindustani Kafi and Pilu. Ananda Bhairavi of Hindustani sāngeet is not allied to Ananda Bhairavi of South.

Karnatak

Ananda Bhairavi is a very popular raga in the South. It is derived from the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni). Natabhairavi corresponds to Asavari That of Hindustani. This is one of the Bhashanga ragas in which svaras other than those in the Melakarta or That are introduced for ranjakatwa. In Hindustani sāngeet such ragas are many. In Karnatak sāngeet also there are a few ragas which come under this category. In Ananda Bhairavi two Gandharas, two Dhaivatas, and two Nishadas are used. Ri is Chatusruti and Ma Suddha. There are also some vakra sanchāras in this raga. Hence great care has to be taken in rendering this raga to bring the features properly. Long Andolans on Ga, Dha and Ni and halt on Ma are beautiful. Aroha and avaroha of Ananda Bhairavi are,

स ri2 ग2 म1 - प ध2 प स or प ध2 प नि2 सं - सं नि2 ध2 प - ग2 म1 प ध1 S - ग2 म1 प ध1 S - म ग2 ri2 - नि2 स.

231

APPENDIX

According to Hindustani notation the aroha and avaroha are,

स ri ग़ म - प ध प स or प ध प नि स - सं नि ध प - म ग़ ri स - म ग़ ri नि स.

Popular compositions in Ananda Bhairavi are,

Oh! Jagadamba (Telugu)—Adi Tala—Shyama Shastry.

Manasa Guruguha (Sanskrit)—Rupaka Tala

—Muttuswamy Dīkshitar.

Satbhaktiyu Galga (Telugu)—Rupaka Tala

—Rammad Srinivasa Iyengar.

Karnatak raga Ritigaula is allied to Ananda Bhairavi to some extent.

Ritigaula—Dha is not used in aroha. Only one kind of Ri, Ga, Dha and Ni are used. Ritigaula is also a janya of the 20th Melakarta Natabhairavi (See Ritigaula).

ANANDAVALLI

Hindustani

There is no Hindustani raga called Anandavalli. It is an interesting raga which can be introduced into Hindustani sāngeet. Its aroha and avaroha are,

स ग़ म प नि स - सं नि प म ग़ स.

Aroha sounds like Mooltani and avaroha like Malashree with Komal Ga instead of Tivra Ga which is used in Malashree (See Malashree and Mooltani).

Karnatak

Anandavalli is a new raga introduced by Shri P.K. Rajagopala Iyer of Ambattur. It is a janya of the 57th Melakarta Simhendramadhyama (ri, gi, ni, dha, nu). Its jati is Audava-Audava. Ri and Pa are omitted. Aroha and avaroha are,

स ग2 म2 प नि2 सं - सं नि2 प म2 ग2 स.

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

स र्‍ म प नि स्‍ - स्‍ नि प म ग्‍ र स.

Pa is a predominent halting note. In this raga all sorts of combinations are allowed and halt is made also on svaras other than Pa. This raga is appealing at night time. It has Bhakti and Karuna rasas. Compositions in raga Anandavalli are,

Samini Todi Teve (Telugu)—Varnam—Adi Tala

—P. K. Rajagopala Iyer. Manasa Bhavaya (Sanskrit)—Chapu Tala

Raga called Soudhamini is also a janya of the 57th Melakarta Simhendramadhyama and has the same aroha and avaroha as Anandavalli.

ANANDI KEDAR

Hindustani

This raga has been invented by Shri Narayanrao Patwardhan. As the name of the raga itself suggests it is formed by the fusion of the two ragas Nand and Kedar. Jati of this raga is Audava-Sampoorna. In aroha Ri and Ga are omitted. Aroha and avaroha of Anandi Kedar are,

स र म प म ध प म -प म्‍ ध प सं -

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

Svaras used are Tivra Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dh and Tivra Ni. Beginning with स म suggests Kedara. Aroha is completely of Kedara cbaya. In avaroha Nand raga is very much in evidence. A composition in this raga is,

Shubha Dina Shubha Gadhi Ajaki—Jhaptal

—Narayanrao Patwardhan.

Karnatak

There is no Karnatak raga called Anandi Kedar, nor one which resembles this newly introduced Hindustani raga.

ARUNANGI

Hindustani

There is no Hindustani raga called Arunangi. This is a rare Karnatak raga which can be included among Hindustani ragas of Todi That. Its aroha and avaroha are,

स रि्‍ म प नि ध्‍ स्‍ - स्‍ नि ध्‍ म रि्‍ ग्‍ र स.

Karnatak

Arunangi is a janya of the 45th Melakarta Shubhapantu-varali (ra, gi, mi, dha, nu) which corresponds to Hindustani Todi That. Its jati is Shadava-Shadava. In aroha Ga is omitted and in avaroha Pa is not used. There is vakra sanchara in both aroha and avaroha. Aroha and avaroha of Arunangi are,

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

Svaras used are Suddha Ri, Sadharana Ga, Prati Ma, Suddha Dh and Kakali Ni. Dh in aroha and Ga in avaroha are elongated and sung with gamaka. According to Hindustani notation the aroha and avaroha are,

स रि्‍ म प नि ध्‍ स्‍ - स्‍ नि ध्‍ म रि्‍ ग्‍ र स.

A composition in this rare raga is,

Mandanila Mandagamini (Sanskrit)—Rupaka Tala

—C. Rangiah.

ASA or ASHA GOUDI

Hindustani

Asa or Asha Goudi belongs to Bilaal That (Dheera-sankarabharana).

This raga is popular in the Punjab. Its Jati is Audava-Sampoorna.

There are two types of Audava Aroha (a) Aroha in which Ri and Ni are omitted. (b) Aroha in which Ga and Ni are omitted. Aroha and avaroha of the two types of Asha Gaudi are,

(a) स ग म प ध सं - सं नि $ - प ध - म ग रि - रि ग स.

(b) स - रि ग म प - सं - - सं नि ध - प ध - म ग रि स - रि ग स.

Sometimes Pa is omirted in aroha when it becomes स रि म प or स रि ग म प.

Type in which Ri is used in aroha resembles raga Mand. Svaras used are Suddha svaras of Hindustani sangeet.

Vadi is Dh. Samvadi is Ri. It is an uttaranga raga. Its prakriti is chanchala or fliriting. This raga is only fit for Dhoons or light music.

Pa should be kept durbal or weak in avaroha and should be used in vakra sanchara. Dh is strong. Tara Shadja should be prominent. This raga should be rendered in Madhya and Tara Saptaks.

Sangati स म is nice. Sometimes Komal Ni is used as an “Aguntak” svara or “guest.” svara for ranjakatwa. Trend or chalan of this raga is as under.

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

A composition in this raga is,

Rama Bhajana Kar—Deepchandi Tal.

The following Hindustani ragas resemble Asa or Aaha Goudi. Mand—Ga is not used in aroha (See Mand) Arabhi—Ri is prominent (See Arabhi) Kajari—Komal Ni is used (See Kajari).

Karnatak

There is no raga called Asa or Aaha Goudi in Karnatak sangeet.

Hindustani raga Mand has become popular in South and is called Mand. This resembles Asa or Asha Goudi.

ATMARANJANI

Hindustani

This raga has been invented recently by Shri Narayanrao Patwardhan. In this raga there are chayas of ragas Kalavati, Pooriya Kalyan, and Ahir Bhairav. Its jati is Sampoorna-Sampoorna. Aroha and avaroha of Atmaranjani are,

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

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

ग प ध नि थ प म ग रि सा - रि स - रि नि स रि ग.

Chaya of Kalavati exists in uttaranga while that of Pooriya Kalyan is seen in poorvanga. Use of Komal Ni with Komal Ri suggests the chaya of Ahir Bhairav. A composition in this raga is,

Kala Na Pare Raina Dina—Trital

—Narayanrao Patwardhan.

Karnatak

There is no Karnatak raga called Atmaranjani nor one which resembles this newly introduced Hindustani raga.

Atmaranjani can be obtained by combining Karnatak ragas Malayamaruta and Poorvi Kalyan.

BAIRAGI BHAIRAV

Hindustani

This is a new raga popularised by Shri Ravishankar, the noted sitarist. It is very pleasing on a string instrument like Sitar.

As the name suggests it is a kind of Bhairav. Hence it belongs to Bhairav That (Mayamalavagaula). Its jati is Audava-Audava. Ga and Dh are omitted. Aroha and avaroha of Bairagi Bhairav are,

स रि म प नि सं - सं नि प म रि स.

Diagnostic svara groups (Pakad) of this raga are,

दि स - नि प मा रि - नि रि स.

This raga expresses sorrow and entreaty. The svara group नि प म gives a chaya of raga Sarang. Vadi and Samvadi are Sa and Pa.

Compositions in this raga are,

He Gurunatha Sakala—Rupak Tal (Vilambit) Naina Tore Matwar Piyarva—Tri Tal (Drut)

236

RAGANIDHI

APPENDIX

237

Karnatak

There is no raga called Bairagi Bhairav in Karnatak sangeet. Karnatak raga called Revati which is a janya of the 2nd Melakarta Ratnangi (ra, ga, ma, dha, ni) has the same aroba and avaroha as Bairagi Bhairav (See Revati).

Bairagi Bhairav can be obtained by substituting Suddha Ri for Chatusruti Ri in the raga Madhyamavati.

BALACHANDRIKA

Hindustani

There is no Hindustani raga called Balachandrika. This is an interesting raga which can be included among ragas of Kafi That. Its aroha and avaroha are,

स ग म प ध नि सं — सं नि ध म ग रि स.

This sounds like Bageshree with Pa used in aroha.

Karnatak

Balachandrika belongs to the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi That. Its jati is Shadava-Shadava. In aroha Ri is not used. In avaroha Pa is omitted. Aroha and avaroha are,

स रि2 म1 प ध2 नि3 सं — सं नि3 ध2 म1 ग2 रि3 स.

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

स ग म प ध नि सं — सं नि ध म ग रि स.

A composition in this rare raga is,

Rajarajeswareem Bhavaye (Sanskrit)—Khanda Triputa —Jayachamaraja Wadiyar.

BASANT KEDAR

Hindustani

This raga is also called Basanti Kedar. It is formed by combining the two night ragas Basant and Kedara. Aroha consists of Kedar and avaroha of Basant. Its jati is Shadava-Sampoorna. Ga is omitted in aroha. Aroha and avaroha of Basant Kedar are,

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

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

स रि स म - म - ध म' प म' - ग मे ग.

Vadi is Ma and Samvadi Sa. In this raga chalan of Kedar is more prominent than that of Basant. At the end of alap svaras स ग रि of Basant are used. Commencement of raga alap of this raga is with the Kedar Anga svaras स रि स म. This raga is sung during the second prahara of night.

Karnatak

There is no Karnatak raga called Basant Kedar nor one which resembles this new raga of Hindustani.

BASANT PANCHAM

Hindustani

Basant Pancham belongs to Poorvi That (Kamavardhini). This is a variety of raga Pancham in which Komal Dh is used instead of Tivra Dh as in other types. Komal Dh gives this type of Pancham raga chaya of Basant. Hence this type of Pancham is called Basant Pancham. Jati of this raga is Audava-Sampoorna. Ri and Pa are omitted in aroha. Aroha and avaroha of Basant Pancham are,

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

238

RAGANIDHI

Svaras used are Komal Ri, Tivra Ga, both Komal and Tivra Ma, Komal Dh and Tivra Ni. Vadi is Sa and Samvadi night. This is an uttaranga raga. Its gati or chalan is more in Madhya and Tara Saptaka. The prayoga with both Madhyams side by side should be noted.

Karnatak

There is no Karnatak raga called Vasanta Panchama nor one which resembles Basant Pancham of Hindustani.

BEEHAD BHAIRAV

Hindustani

We owe this raga to Shri Kumara Gandharv. Its jati is Audava-Sampoorna. Ga and Ni are not used in aroha. Aroha and avaroha are,

स ri म प म s धु प ध s नि ri ध s नि s ri ध प म ग ri स नि s ri ध ri s

प ध नि ri ध प म ग ri स नि s ri ध ri s

Svaras used are Komal Ri, both Komal and Tivra Ga, Suddha Ma, both Komal and Tivra Ga and both Komal and Tivra Ni. Sancharas are vakra. Vadi is Sa and Samvadi Pa. Pakad or Gunjan svara groups are,

स ri म ग ri स ri ध नि s नि s ri ग ri ri s नि s ri s

ri ri s.

Nyasa svaras are Ma and Ni. In this raga Sa is very important. Raga Vistar is chiefly round about Sa.

Aroha sounds like Jogia. It also has a chaya of Shiva Bhairav. Compositions in Beehad Bhairav are,

Yehore Shyam–Tri Tal (Vilambit)–Kumar Gandharv.

Bana Bani Ayo Melo–Tri Tal (Madhya)

–Kumar Gandhrav.

Karnatak

There is no Karnatak raga called Beehad Bhairav, nor one which resembles this newly introduced Hindustani raga.

239

APPENDIX

BHADRA TODI

Hindustani

There is no raga called Bhadra Todi in Hindustani sangeet. This raga can be included among ragas of Bhairavi That.

Karnatak

This raga has been invented by Shri C. Rangiah of Mysore. It is a janya of the 8th Melakarta Hanumatodi (ra, gi, ma, dha, ni) which corresponds to Bhairavi That of Hindustani.

Bhadra Todi is an Audava-Audava raga. In aroha Pa and Ni are omitted. In avaroha Me and Ri are not used. Aroha and avaroha are,

स ri ग म ध s नि s नि ध प ग ri s.

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

स ri ग म ध s नि s नि ध प ग ri s.

A composition in this raga is,

Mahishasura Mardini (Sanskrit)–Adi Tala–C. Rangiah.

BHAMVAR

Hindustani

This rare raga is considered by some to be the first "Putra" raga of Malakauns. Ga is omitted in this raga. Chalan of this raga is,

स प म प नि ध नि s नि नि s ri s प नि नि s म ri s नि ध नि s ri s

Svaras used are Komal Ri, Suddha Ma, Tivra Di and Komal Ni. Some use both Suddha and Prati Ma and both Komal and Tivra Ni.

Some consider Vadi and Samvadi to be Ma and Sa respectively. Others suggest Ri and Pa as Vadi and Samvadi. This raga is sung at daybreak. A composition in raga Bhamvar is,

Sadho Guni Saptasura–Panchamukhi Tal

–Shri Hari Babu Nepali.

240

RAGANIDHI

241

APPENDIX

Karnatak

There is no Karnatak raga called Bhanovar nor one which resembles this rare Hindustani raga. This raga can be put under Melakarta Chakravaka and given the following aroha and avaroha,

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

BHANUCHANDRIKA

Hindustani

There is no Hindustani raga called Bhanuchandrika. If Ga is omitted in aroha in the popular raga Malakosh the resulting raga resembles Bhanuchandrika of Karnatak sangeet. Malakosh has the following aroha and avaroha.

स ग म ध नि सं—सं नि ध म ग रि स.

(See Malakosh or Malakauna).

Karnatak

Bhanuchandrika is derived from the 8th Melakarta Hanumattodi (ra, gi, ma, dha, ni) which corresponds to Bhairavi That of Hindustani. Its jati is Svarantara (Chatusvari)—Audava. Ri, Ga, and Pa are omitted in aroha. In avaroha Pa and Ri are not used. Aroha and avaroha of Bhanuchandrika are,

स म1 ध1 नि2 सं—सं नि2 ध1 म1 ग2 रि2 स.

Svaras used are Sadharana Ga, Suddha Ma, Suddha Dha and Kaisiki Ni. According to Hindustani notation aroha and avaroha are,

स म ध नि सं—सं नि ध म ग रि स.

In Bhanuchandrika ranjaka svaras are Ma and Dh. A composition in this rare raga is,

Bhajare Mohana (Sanskrit)—Roopaka Tala

—Jayachamaraja Wadiyar.

In Bhanuchandrika only four svaras are used in aroha. In avaroha five svaras are used to overcome the criticism that in a

raga there should be atleast five svaras to give ranjakatva and allow scope for expansion of the raga (raga vistara). Ga which is omitted in aroha seems to have been introduced in avaroha with this object only. Remembiring this, Ga should be kept hidden and taken in meend as ग म रि स. This gives beauty to the raga.

There are a few Svarantara ragas (Chatusvari) like Bhavani (Hin), Malashree (Hin) and Shankari or Mahati (Kar) and even Samika (Trisvari) ragas like Swayambhoo (Kar), Malashree (Hin) and Jaladhar Sarang (Hin) which are pleasing.

BHANUMATI

Hindustani

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

Karnatak

Bhanumati is the name by which the 4th Melakarta Vanaspati is called by the Dikshitar School.

Janya raga Bhanumati belongs to the 4th Melakarta Vanaspati (ra, ga, ma, dhi, ni). Its jati is Shadava-Sampoorna. Ga is omitted in aroha. Aroha and avaroha are,

स रि2 म1 प ध2 नि2 सं—सं नि2 ध2 प म1 ग2 रि1 स.

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

स रि म प ध नि सं—सं नि ध प म ग रि स.

(Tivra Ri (ri) represents Suddha Ga of Karnatak).

Bhanumati is a rare raga. A composition in this raga is,

Guru Guha Swami Nee (Sanskrit)—Khandajati Triputa Tala

—Muttuswamy Dikshitar.

16

242

RAGANIDHI

BHAVAPRIYA

Hindustani

There is no Hindustani raga called Bhavapriya. In the Bhairavi That, if Suddha Ma is replaced by Prati Ma, the resulting That is the Bhavapriya Melakarta of Karnatak.

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

स ग म प - म ध म प - प नि ri स.

(See Bhairavi).

Karnatak

Bhavapriya is the 44th Melakarta. According to Dikshitar School it is called Bhavani Melakarta. Bhavapriya is a Sampoorna-Sampoorna raga. Aroha and avaroha are,

स ri ग1 म2 प ध1 नि2 सं - सं नि2 ध1 प म2 ग1 ri स.

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

Bhavapriya is not a popular raga. A composition in this raga is,

Sreekanta Neeyada (Telugu)--Deshadi Tala--Tyagaraja.

BHAVAT BHAIRAV

Hindustani

We owe this raga to Sri Kumar Gandharv. Its jati is Audava-Shadava. In aroha Ri and Pa are omitted. In avaroha Ni is not used. Aroha and avaroha are,

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

सं ध म म ग प नि ri स.

Svaras used are Komal Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dh, and Komal Ni. Aroha sounds like Madhuradhvani (Durga of Khamaj That). In avaroha the presence of both Tivra and Komal Ma occurring side by side

creates a Lalit effect. Ending of avaroha with नि ri स is the only Bhairav anga present in this raga. Pakad or diagnostic svara groups are,

स ग म प - म ध म प - प नि ri स.

This is a morning raga. A composition in Bhavat Bhairav is, Kantha Re Jano--Tri Tal (Madhyā)--Kumar Gandharv.

Karnatak

There is no Karnatak raga called Bhavat Bhairav nor one which resembles this new raga.

APPENDIX

243

BHINNAPANCHAMA

Hindustani

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

Karnatak

Bhinnapanchama is a janya of the 3rd Melakarta Ganamoorti (ra, ga, ma, dha, nu). Its jati is Sampoorṇa-Shadava. In avaroha Pa is not used. Aroha and avaroha are,

स ri ग1 ri म1 ग ri म1 प ध1 नि2 सं - सं नि2 ध1 म1 ri स ri ग ri स.

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

स ri ri ग प ध नि सं - सं नि ग ri स ri स ri ग ri स

(Tivra Ri (री) represents Suddha Ga of Karnatak).

There is vakra sanchara in aroha. This is a rare raga. The following composition is available in Bhinṇapanchama.

Areta Tanaham (Sanskrit)--Lakshanageeta--Eka Tala

--Venkatamakhi.

244

RAGANIDHI

BHOGACHAYANATA

Hindustani

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

Karnatak

Bhogachayanata is the name by which the 34th Melakarta Vagadeeshvari is called by Dikshitar school.

Janya raga Bhogachayanata is derived from 34th Melakarta Vagadeeshwari (ru, gu, ma, dhi, ni). Its jati is Shadava-Shadava. In aroha Dha is not used. In avaroha Ga is omitted, Aroha and avaroha are,

स रि3 ग2 म2 प नि2 नि3 स —

स नि2 ध2 नि2 प स नि2 प म1 म2 रि3 स.

Svaras used are Shatsruti Ri, Antara Ga, Suddha Ma, Chatusruti Dh and Kaisiki Ni. There are vakra sancharas in both aroha and avaroha. Aroha and avaroha according to Hindustani notation are,

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

(Komal Ga (ग2) represents Shatsruti Ri of Karnatak).

A composition in this difficult raga is,

Bhogachayanataka Priye (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

BHOGAVASANTA

Hindustani

There is no Hindustani raga called Bhogavasanta. If Pa is omitted in Pooria Dhanashree of Hindustani sangeet, the remaining svaras give rise to Bhogavasanta which has the following aroha and avaroha.

स रि1 ग म ध नि स — सं नि धु म ग रि1 स.

This raga is also obtained by using Kumal Dh in place of Tivra Dh in raga Marwa (See Marwa) or by using Tivra Ga in Gurjari Todi (See Gurjari Todi).

Karnatak

Bhogavasanta is a janya of the 51st Melakarta Kamavardhini (ra, gu, mi, dha, nu). Its jati is Shadava-Shadava. Pa is omitted. Aroha and avaroha are,

स रि1 म2 ग2 नि3 सं — सं नि3 ध2 म2 ग2 रि1 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 र ग म ध नि सं — सं नि ध म ग रि स.

Bhogavasanta is a pleasing raga. It is surprising that it is not popular.

Hamsanandi and Shekharachandrika or Shubhali resemble Bhogavasanta very closely.

Hamsanandi—Chatusruti Dh (Tivra Dh) is used (See Hamsanandi).

Shekharachandrika or Shubhali—Sadharana Ga (Komal Ga) is used (See Shekharachandrika).

BHOOKOSH

Hindustani

This raga is also called Audava Bilaval, Bhinmashadja, Pancham, Hindoli, and Kaushikadhvani. Bhookosh belongs to Bilaval That (Dheerasankarabharana). Its jati is Audava-Audava. Pa and Ni are not used. Aroha and avaroha are,

स ग म ध नि सं — सं नि ध म ग स.

All svaras are Suddha svaras of Hindustani sangeet. Vadi is Dh and Samvadi Ga. Some consider Ma as Vadi and Sa Samvadi. Bhookosh sounds like Hindol with Suddha Ma in place of Prati Ma (See Hindol). This raga is sung during the first prahara of the day and hence called “Malkosh for the day” (दिनका मालकोश). But some consider it to be a night raga.

Compositions in Bhookosh are,

Ajahu Na Aye Balama—Tri Tal—L. S. Babulal Saraswat.

Nishi Dina Bhajure Mana—Tri Tal—Anandaram Simha.

245

APPENDIX

Hindustani ragas Madiurabhvani, Rajeshvari, Ravikosh, Hemant, Kankani, etc., resemble Bhookosh.

Karnatak

There is no Karnatak raga called Bhookosh. Dhaka which is a janya of the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu) corresponds to Hindustani raga Bhookosh. Aroha and avaroha of Dhaka are,

स ग₁ म₁ ध₂ नि₅ सं — सं नि₈ ध₂ म₁ ग₀ स.

According to Hindustani notation aroha and avaroha are,

स ग म ध नि सं — सं नि ध म ग स.

Dhaka is a very pleasing raga but no composition in this raga is available.

Karnatak raga Bhinnashadja has no resemblance to Bhinnashadja of Hindustani. It is a janya of the 9th Melakarta Dhenuka (ra, gi, ma, dha, nu). Aroha and avaroha according to Hindustani notation are,

स रि₁ ग₂ म₁ प ध₁ सं— सं ध₂ प म₁ ग₂ रि₁ स.

(See Bhinnashadja).

BHOOPALA PANCHAMA

Hindustani

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

Karnatak

Bhoopala Panchama is derived from the 39th Melakarta Jhalavarali (ra, ga, mi, dha, nu). Its jati is Shadava-Shadava wich vakra sancharas in both aroha and avaroha. Ni is not used. There are two sets of aroha and avaroha mentioned for this raga.

TYPE I

स ग₁ रि₁ ग₁ म₂ प ध₁ सं — सं प ध₂ म₂ ग₁ रि₁ स.

TYPE II

स ग₁ रि₁ ग₁ प म₂ ध₁ सं — सं प म₂ ध₁ ग₁ रि₁ स.

Svaras used are Suddha Ri, Suddha Ga, Prati Ma and Suddha Db. According to Hindustani notation the aroha and avaroha are,

TYPE I

स रि रि म प ध सं — सं प ध म रि रि स.

TYPE II

स रि रि प म ध सं — सं प म ध रि रि स.

In the above Tivra Ri (र) represents Suddha Ga (ग₁) of Karnatak.

In this raga prayoga of the groups of svaras स म ध से - सं प म से seem to be used often. Svaras Ma and Dh are raga chaya svaras. Bhoopala Panchama is not a popular raga. A composition in Bhoopala Panchama is,

Bhaja Govindam (Sanskrit)—Chatusra Triputa Tala

—Jayachamaraja Wādīyar.

BHUSHAVATI

Hindustani

There is no Hindustani raga called Bhushavati nor one which is allied to this rare Karnatak raga.

Karnatak

Bhushavati is, according to Diksitar School, the 64th Melakarta corresponding to Vachaspati (ri, gu, mi, dhi, ni). Raga Bhushavati is also a Sampoorna-Sampoorna raga. (According to Diksitar School, raga having the same name as the Melakarta need not be a Sampoorna-Sampoorna raga). Aroha and avaroha of Bhushavati are,

स रि₂ ग₂ म₂ प ध₂ नि₂ सं — सं नि₂ ध₂ प म₂ ग₂ रि₂ स.

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

स ri गम॑ प ध नि स॑ — सं नि ध प म ग ri स.

Bhushavati is not a popular raga. A composition in this raga is,

Bhushavateem (Sanskrit)—Trisra Eka Tala

—Mutthuswamy Dikshitar.

Raga Bhushavali resembles Bhushavati.

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

BUDHAMANOHARI

Hindustani

There is no Hindustani raga called Budhamanohari. It is an interesting raga with the following aroha and avaroha and can be included among the Bilaval That ragas.

स ri ग म स प स॑ — सं प म ग ri स.

In both aroha and avaroha Dh and Ni are omitted.

Karnatak

Budhamanohari is derived from the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu) which correaponds to Bilaval That of Hindustani. Its jati is Audava-Audava. Dh and Ni are not used. Aroha and avaroha of Budhamanohari are,

स ri ग म1 स प स॑ — सं प म1 ग ri स.

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

स ri ग म स प स॑ — सं प म ग ri स.

Vakra sanchara म स प स॑ in aroha is interesting. A com-position in Budhamanohari is,

Samayamide Nannu Bro (Telugu)—Adi Tala

—Muthiah Bhagavatar.

CHAKRAPRADEEPTA

Hindustani

There is no Hindustani raga called Chakrapradeepta, nor one which resembles this rare and intersting Karnatak raga.

Karnatak

Chakrapradeepta is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi That. Its jati is Sampoorna-Audava. Pa and Ri are omitted in avaroha. There is vakra sanchara in aroha. Aroha and avaroha are,

स ri2 ग2 म1 प ध2 नि2 स॑ — सं नि2 ध2 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 ri ग॑ प म ध नि स॑ — सं नि॑ ध म ग ri स.

Chakrapradeepta is a pleasing one although it is not a popular raga. A composition in this raga is,

Chakresi Devi (Kanarese)—Adi Tala—Muthiah Bhagavatar.

CHAMARA

Hindustani

There is no Hindustani raga called Chamara. This is the same raga as Shanmukhapriya of South which has been introduced in the North by instrumentalists.

Karnatak

Chamara is the name given to the 56th Melakarta Shanmukhapriya by the Dikshitar School (See Shanmukhapriya). Chamara is a Sampoorna-Sampoorna raga and resembles Shanmukhapriya in every detail (See Shanmukhapriya).

250

RAGANIDHI

CHANDRA BHAIRAV

Hindustani

We owe this raga to Shri Narayanrao Patwardhan. It is a combination of the two popular ragas Chandrakauns and Bhairav. In its uttaranga it sounds like Chandrakauns. Jati of Chandra Bhairav is Audava-Shadava. In aroha Ri and Pa are ommitted. In avaroha Pa is not used. Aroha and avaroha are,

स न म ध नि स -- स नि ध म ग म रि स.

Svaras used are Komal Ri, Tivra Ga, Suddha Ma, Komal Dh and Tivra Ni. Vakra sanchaara of Ri gives a Bhairav effect. A composition in this raga is,

Sakhiya Sab Mila Averi--Tri Tal (Madhya)

—Narayanrao Patwardhan.

Karnatak

There is no Karnatak raga called Chandra Bhairav, nor one which is allied to this newly introduced Hindustani raga.

CHANDRAKALI or CHANDRAKALYAN

Hindustani

This is a rare raga. It is not possible to put this raga under any one of the ten Thats of Hindustani sangeet. It can be put under the 63rd Melakarta Latangi of Karnatak sangeet. It is a Shadava-Shadava raga. Ga is ommitted. Aroha and avaroha are,

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

Pakad or Gunjan svara groups are,

रि नि ध प -- म ध प -- स रि -- स नि स.

Vadi is Pa and Samvadi Sa. Sangathi used in avaroha is रि नि प ग. In aroha Dh is durbal or weak. Svaroop of this raga is not fully understood. Compositions in this raga are,

Kaise Bharu Gagari—Tri Tal (Madhya) -J. D. Patki.

Chandrakali Rasika Gat --Ek Tal—J. D. Patki.

251

APPENDIX

Karnatak

There is no Karnatak raga called Chandrakali or Chandra Kalyan, nor-one which resembles this Hindustani raga.

CHANDRAKAUNS

Hindustani

Chandrakauns is a raga which has become popular during the last thirty years. There are two types of Chandrakauns. Both are Audava-Audava ragas with Ri and Pa ommitted.

TYPE I (Malakauns Anga)

This is Chandrakauns with Malakauns Anga. This is obtained by substituting Tivra Ni for Komal Ni in both aroha and avaroha of Malakauns. Aroha and avaroha are,

स ग म ध नि से -- स नि ध म ग स.

Svaras used are Komal Ga, Suddha Ma, Komal Dh and Tivra Ni. This is a night raga. A popular composition in this type of Chandrakauns is,

Jobanare—Tri Tal (Drut).

TYPE II (Bageshree Anga)

Chandrakauns with Bageshree Anga is obtained by using Tivra Dh instead of Komal Dh in Malakauns. Aroha and avaroha are,

स ग म ध नि से -- स नि ध म ग स.

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

This Type of Chandrakauns is not popular, Durga of Khamaj That also called Madhuradhvani resembles Chandrakauns with Bageshree Anga.

Durga (Khamaj That)--Ga is Tivra (See Durga).

Karnatak

There is no Karnatak raga called Chandrakauns. Chandrakauns (Malakauns Anga) is becoming popular in the South also.

252

RAGANIDHI

One type of Karnatak raga Hindola in which Chaturasruti Dh is used resembles Chandrakauns (Bageshree Anga). Tyagaraja Kriti "Manasuloni Marma" is sung by some in Hindola with Chaturasruti Dh (See Hindola).

CHANDRALEKHA

Hindustani

Chandralekha belongs to Kafi That, (Kharaharapriya). In this raga however instead of Suddha Ma, Prati Ma is used. Its jati is Shadava-Sampoorna. In aroha Ni is dropped. Aroha and avaroha are,

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

Svaras used are Tivra Ri, Komal Ga, Prati Ma, Tivra Dh and Komal Ni. Vadi is Sa and Samvadi Pa. In this raga there is chaya of Madhuvanti. Hence care has to be taken to suppress that chaya. This is a newly invented raga and is not yet popular.

A composition in this raga is,

Paniya Bharana Kaise Javoo -Tri Tal (Madhya)

—Y. D. Bhatt.

Karnatak

Rare Karnatak raga Hansabhramari which is janya of 58th Melakarta Hemavati corresponds to Chandralekha of Hindustani.

CHANDRAMALA

Hindustani

Chandramala is a combination of Chandrakauns and Malakauns ragas. Its jati is Audava-Audava. Ri and Pa are omitted. Aroha and avaroha of Chandramala are,

स ग म - ध - नि सं - मि - ध नि ध म - ग स.

Svaras used are both Komal and Tivra Ga, Suddha Ma, Komal Dh and both Komal and Tivra Ni. Tivra Ga and Tivra Ni are used in aroha. Svara group नि स ग म gives a touch of Malagunji and ग म gives a touch of Jog. Chandrakauns

253

APPENDIX

chaya is in uttaranga of aroha and that of Malakauns in the whole of avaroha. This is an interesting raga. Compositions in this raga are,

Yeri Sakhi Mag Rokata-Ek Tal (Vilambit)—Gulam Rasool.

Peera Hamare—Teen Tal (Madhya)—Gulam Rasool.

Nabhkauns is allied to Chandramala.

Nabhkauns—Only Komal Ga is used (See Nabhkauns).

Karnatak

There is no Karnatak raga called Chandramala nor one which resembles this rare Hindustani raga?

CHANDRANAND

Hindustani

This raga has been introduced and popularised by the well-known Sarod player Sri Ali Akbarkhan. It is not a popular raga among vocalists. This is a mishra-raga in which both Ga and both Ni are used. Hence it is difficult to put it under any particular That. Its jati is Audava-Shadava. In aroha Ri and Pa are omitted. In avaroha Ri is not used. Its aroha and avaroha are,

स ग म नि धु नि सं - ति ध प प म - ग - म ग स.

There is a vakra sanchara in avaroha. Svaras used are both Komal and Tivra Ga, Suddha Ma, Komal Dh and both Komal and Tivra Ni. Pakad or Gunjan svara groups are,

म S S - ध नि ध प म S - म ग S स - नि स.

Aroha of Chandranand resembles that of Chandramala. In avaroha Pa is not used in Chandramala (See Chandramala).

Karnatak

There is no Karnatak raga called Chandranand, nor one which is allied to Chandranand of Hindustani.

254

RAGANIDHI

CHANDRAREKHA

Hindustani

There is no raga called Chandrareckha in Hindustani sangeet. Hindustani raga Chandralekha has the same aroha as Chandrareckha. In avaroha it uses Pa (See Chandralekha).

Karnatak

Chandrareckha is a janya of the 58th Melakarta Hemavati (ri, gi, mi, dhi, ni). Chandrareckha is a Shadava-Shadava raga. Ni is omitted in aroha and Pa is not used in avaroha. Aroha and avaroha of this raga are,

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

Svaras used are Chaturasruti Ri, Sadharana Ga, Prati Ma, Chatusruti Dha and Kaisiki Ni. According to Hindustani notation the aroha and avaroha are,

सरि ग़ड मे प ध सं - सं ध् रि ग़ड रि स.

Ga is elongated with Andolan in aroha. In avaroha Ga and Ri are elongated with Gamaka. Ga and Dha are ranjaka svaras. The following sancharas are frequently used.

प ध सं S सं नि S ध नि S सं - स रि ग़ड S म प ध सं नि S सं -

सं नि ध म ग़ रि S ध म प सं ग़ रि S स.

Chandrareckha is not a popular raga. A composition in this raga is,

Chandrakaladhari (Sanskrit)—Adi Tala—C. Rangiah.

CHANDRIKA TODI

Hindustani

There is no Hindustani raga called Chandrika Todi. Hindustani raga Kokila Panchama has got the same aroha and avaroha as Chandrika Todi, Kshanika and Prabhupriya ragas of Karnatak. It resembles Prabhupriya more than the other two ragas. Aroha and avaroha are,

स ग2 म1 प ध सं - सं ध2 प म1 ग2 रि2 स - ग़ड स.

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APPENDIX

Karnatak

We owe this raga to Shri C. Rangiah of Mysore. Chandrika Todi is a janya of the 8th Melakarta Hanumatodi (ra, gi, ma, dha, ni) which corresponds to Bhairavi That of Hindustani. Its 'jati is Audava-Audava. Ri and Ni are not used. Aroha and avaroha are,

स ग2 म1 प ध सं - सं ध1 प म1 ग2 स.

Svaras used are Sadharana Ga, Suddha Ma, and Suddha Dha. According to Hindustani notation the aroha and avaroha are,

स ग़ म प ध सं - सं ध प म ग़.

A composition in Chandrika Todi is,

Palayamam Sharvani (Sanskrit)—Misra Chapu Tala—C. Rangiah.

Chandrika Todi has the same aroha and avaroha as Kshanika (also a janya of Hanumatodi) and Prabhupriya ragas. Chandrika Todi and Kshanika have 'Todi raga chaya while Prabhupriya, which is a janya of Natabhairavi, has Natabhairavi chaya. In Chandrika Todi and Kshanika, Ga and Dha are given gamakas as in Todi raga. In Prabhupriya gamakas are not given (See Prabhupriya).

Allied Hindustani raga is Kokila Panchama (See Kokila Panchama).

CHAPAGHANTARAVA

Hindustani

Chapaghantarava is a rare raga belonging to Asavari That (Natabhairavi). Its jati is Shadava-Shadava. Ga is not used. Aroha and avaroha are,

स रि म प ध नि सं - सं नि ध प म रि स.

Svaras used are Tivra Ri, Suddha Ma, Komal Dha, and Komal Ni. Vadi is Sa and Samvadi Ma. A composition in this raga is,

Brijake Bihari—Dadra Tal—Y. D. Bhatt.

256

RAGANIDHI

Karnatak

Chapaghantarava is a janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which corresponds to Asavari That of Hindustani. Its jati is Audava-Sampoorna. In aroha Ri and Dh are not used. This is a Nishadantya raga. Aroha and avaroha are,

स रि₂ म₁ प ध₁ नि₃ - ध₁ प म₁ ग₂ रि₂ स नि₃.

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

स ग म प नि - ध प म ग रि स नि.

Karnatak raga Chapaghantarava has some resemblance to the Hindustani raga of the same name. Chapaghantarava of South is also not a popular raga.

CHATURANGINI

Hindustani

There is no Hindustani raga called Chaturangini, nor one which resembles this Karnatak raga. This is an interesting raga. In certain sancharas it sounds like Maru Bihag.

Karnatak

According to Dikshitar School, Chaturangini is the name for the 66th Melakarta Chitrambari (ri, gu, mi, dhu, nu). Raga Chaturangini is a janya of the 66th Melakarta Chitrambari (ri, gu, mi, dhu, nu). There are two arohas and avarohas suggested for this raga.

TYPE I

Jati of this type is Audava-Sampoorna. In aroha Ri and Dh are not used. Aroha and avaroha are,

स म₂ ग₂ म₂ प नि₃ सं - सं नि₃ ध₂ नि₃ प ग₂ म₂ ग₂ रि₂ स.

Svaras used are Chatusruti Ri, Antara Ga, Prati Ma, Shatsruti Dh and Kakali Ni. There are vakra sancharas in this raga.

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APPENDIX

both aroha and avaroha. According to Hindustani notation the aroha and avaroha are,

स ग म प नि सं - सं नि प म ग रि स.

Komal Ni (नि) represents Shatsruti Dh of Karnatak.

Type II

Jati of this type is Sampoorna-Shadava. In avaroha Dh is omitted. Aroha and avaroha are,

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

According to Hindustani notation they are,

स रि म प नि सं - सं नि प म ग रि स.

A composition in the Sampoorna-Shadava type of Chaturangini is,

Guruguha Bhavam Tarangineem (Sanskrit)--Chatusra Triputa--Muttuswamy Dikshitar.

CHAYA

Hindustani

There is diversity of opinion regarding the swaroop of this raga. Some think that Chaya and Chayanat are identical. Others think that they are different ragas.

Those who consider Chaya to be an independent raga suggest that in Chaya only Suddha Ma should be used and Komal Ni should not be introduced. According to this view aroha and avaroha of Chaya are,

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

With the above swaroop Chaya is a Shadava-Sampoorna raga with Ni dropped in aroha. Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and Tivra Ni.

Chaya is a pleasing raga and deserves to be popularised.

Karnatak

Hindustani raga Chaya sounds like a combination of Karnatak raga Begada in aroha and Karnatak raga Saranga in avaroha (See Begada and Saranga). This is interesting as a

new raga Begada Saranga could be evolved by this combination.

It will have the following swaroopa.

ग म स - प ध प - सं स नि स - हिं सं स - हिं सं नि स ध प - प ध नि स - ति स ध प - स.

Karnatak raga Chaya is supposed to be a janya of the 29th

Melakarta Dhcerasankarabharana (ri, gu, ma, dhi, nu) which

corresponds to Hindustani Bihag That. But Prati Ma is also

used thereby suggesting that it has been formed by mixing

Hindustani ragas Kamod and Chayanat (See Kamod and

Chayanat). Aroha and avaroha of Chaya of South are,

स प म2 प ध2 प नि2 स - ति स ध2 प ध2 प म2 प नि2 म1 रि2 स.

Its jati is Audava-Shadava. In aroha Ri and Ga are

omitted. In avaroha Ni is not used. Svaras used are

Chatushruti Ri, Antara Ga, both Suddha and Prati Ma,

Chatushruti Dha and Kakali Ni. There are vakra sanchras in

both aroha and avaroha. According to Hindustani notation the

aroha and avaroha are,

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

A composition in raga Chaya is,

Nalavina Gari Kedari (Kanarese opera song)--Mishra

Chaput Tala--P. T. Narasimhachar.

CHAYA TODI

Hindustani

Chaya Todi belongs to Todi That (Shubhapantuvarali).

Its jati is Audava-Audava. Pa and Ri are omitted. Aroha

and avaroha of Chaya Todi are,

स रि ग - म ध सं - सं ध म ग रि स.

Svaras used are Komal Ri, Komal Ga, Prati Ma, and Komal

Dha. Vadi is Ga and Samvadi Dha. This raga is sung during the

second prahara of day. This is a pleasing raga and deserves

to be popularised. A composition in Chaya Todi is,

Bhora Bhayee Piyarava--Teen Tal (Madhya)--Y. D. Bhatt.

Hindustani ragas Todi and Gujari or Gurjari Todi are allied to Chaya Todi.

Todi--Sampoorna-Sampoorna raga (See Todi).

Gujari Todi -Shadava-Shadava raga. Pa is not used (See

Gujari Todi).

Karnatak

There is no Karnatak raga called Chaya Todi. Parameshti

which is a janya of the 43rd Melakarta Gavambodhi (ra, gi,

mi, dha, nu) has the same aroha and avaroha as Chaya Todi.

Strictly speaking Parameshti should be treated as a janya of

45th Melakarta Shubhapantuvarali (ra, gi, mi, dha, nu) which

corresponds to Hindustani Todi That. Aroha and avaroha of

Parameshti are,

स रि1 म2 ध1 सं - सं ध1 म2 रि1 स.

According to Hindustani notation the aroha and avaroha are,

स रि ग़ म ध़ सं - सं ध़ म ग़ रि स.

Parameshti is a pleasing raga and deserves to be popularised

like Shekharachandrika or Shobhati the Karnatak equivalent

of Hindustani raga Gujari Todi which is now attracting the

attention of Karnatak musicians.

CHAYAVATI

Hindustani

There's no Hindustani raga called Chayavati. Hindustani

raga Bhatiyari (Marwa That) has some resemblance to this

Karnatak raga. Aroha and avaroha of Bhatiyari are,

स - घ - प - ध म स - प ति स - म ध सं - हिं नि -

ध प - म स - प म - रि स.

In Chayavati only Suddha Ma is used.

Karnatak

Chayavati is the name by which the 17th Melakarta

Suryakanta is called by Dikshitar school.

Chayavati is a janya of the 17th Melakarta Suryakanta

(ra, gu, ma, dhi, nu). Its jati is Shadava-Sampoorna. In

aroha Pa is not used. Aroha and avaroha are,

स रि1 ग3 म1 ध2 नि2 सं - सं नि3 ध2 प म1 ग3 रि1 स.

260

RAGANIDHI

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

स रि₁ ग म ध नि सं - सं नि ध प म ग रि स.

Chayavati is not a popular raga. A composition in this raga is,

Chayavateem Ananda Valleem (Sanskrit)—Adi Tala

—Muttuswamy Diksbitar.

CHINTAMANI

Hindustani

There is no Hindustani raga called Chintamani. This is an interesting Karnatak raga one type of which can be included among ragas of Asavari That (Natabhairavi) with Tivra Ma in place of Suddha Ma.

Karnatak

Famous Kriti “Devi Brova Samayamide” of Shyama Sastry which he composed in raga Chintamani is sung at present in two or three totally different ragas called Chintamani.

Although the story, that Shyama Sastry composed this song in a prayer to Goddess Amba to give him strength to sing well before Bobbili Keshaviah the reputed musician from Andhra Desha who was going about from place to place challenging every musician whom he came across, is given credence to, it is surprising that the way he set and sang this Kriti in Chintamani has not been remembered by his disciples and passed on to us.

There are three types of raga Chintamani.

Type I

This is a janya of the 7th Melakarta Senavati (ra, gi, ma, dha, na). Its jati is Sampoorna-Sampoorna. There are vakra sancharas in aroha and avaroha. Aroha and avaroha are,

स रि₁ रि₂ म₁ ग म₁ प ध₂ नि₁ सं - सं ध₂ नि₁ प म₁ ग रि₂ स.

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APPENDIX

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

स रि₁ ग₂ म प धू सं - सं धू प म ग₂ रि₁ स.

[Tivra Dh (Dha) represents Suddha Ni of Karnatak].

Kriti “Devi Brova” is not now sung in this type of Chintamani.

There is a raga Chintaramani which is a janya of the 52nd Melakarta Ramapriya. This is altogether different from Chintamani.

Type II

This is a janya of the 56th Melakarta Shanmukhapriya (ri, gi, mi, dha, ni). Its jati is Shadava-Shadava. In aroha Ga is not used. In avaroha Ni is omitted. Aroha and avaroha are,

स रि₁ प म₁ प ध₁ नि₂ सं - सं ध₁ प म₂ नि₂ रि₂ स.

Svaras used are Chatusruti Ri, Sadharana Ga, Prati Ma, Suddha Dh and Kaisiki Ni. There are vakra sancharas in both aroha and avaroha. According to Hindustani notation the aroha and avaroha are,

स रि₁ म प ध नि सं - सं ध प म ग रि स.

Ri, Ma, Dh and Ni are the raga chaya svaras. The special prayoga प रि ग रि is appealing. This raga has Karuna rasa. It is a night raga. The following Kriti is very appealing in this type of Chintamani.

Devi Brova Samayamide (Telugu)—Adi Tala

—Shyama Sastry.

Type III

It is a janya of the 16th Melakarta Chakravaka (ra, gu, ma, dha, ni). Svaroop of this Type is not properly known. The following Kriti is sung by some musicians in this type of Chintamani.

Devi Brova Samayamide (Telugu)—Adi Tala

—Shyama Sastry.

262 RAGANIDHI APPENDIX 263 DAYAVATI Hindustani There is no Hindustani raga called Dayavati. This raga can be included among ragas of Kafi That (Kharaharapriya). In aroha, although Ni is used and not Dh, there is a chaya of Shivaranjini on account of the svara group स रि ग प नि स प ध नि स. Avaroha consists of svaras of Dhani. Aroha and avaroha of Dayavati are,

स रि ग प नि सं - सं नि ध प म ग रि स.

Karnatak We owe this raga to Shri N. S. Ramachandran. Dayavati is put under the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi That. Its jati is Audava-Audava. In aroha Ma and Dha are not used. In avaroha Dha and Ri are omitted. Aroha and avaroha are,

स रि ग₂ प नि सं - सं नि₂ प म₁ ग₂ रि स.

Svaras used are Chhatushruti Ri, Sadharana Ga, Suddha Ma, and Kaisiki Dha. According to Hindustani notation the aroha and avaroha are,

स रि ग प नि सं - सं नि प ध म ग रि स.

Dayavati has for its aroha, svaras of Ratipatipriya and for its avaroha those of Udayaravichandrika (See Ratipatipriya and Udayaravichandrika). Dayavati is a pleasing raga. A composition in this new raga is, (Tīlana)—Khanda Triputa Tala—N. S. Ramachandran.

DEEPARAMU Hindustani There is no Hindustani raga called Deeparamu, nor one which resembles this rare Karnatak raga. This raga sounds like Bhairavi in poorvanga and Kafi in uttaranga.

Karnatak Deeparamu is a janya of the 10th Melakarta, Natakapriya (ra, gi, ma, dhi, ni). Its jati is Sampoorna-Sampoorna with a vakra sanchar in avaroha. Aroha and avaroha are,

स रि₁ ग₂ म₁ प ध₂ नि₂ सं - सं नि₂ ध₂ नि₂ प म₁ ग₂ रि₁ स.

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

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

Deeparamu is a rare raga. The following composition is available. Padaseva Niratara—Adi Tala—Venkatasubba Iyer.

DURVĀNGI Hindustani There is no Hindustani raga called Durvangi. It is an old raga which is interesting. Its aroha has svaras of Durga of Bilaval That and the avaroha has chaya of Mand. Aroha and avaroha of Durvangi are,

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

Karnatak Durvangi is a janya of the 29th Melakarta Dheerashankarabharana (ri, gu, ma, dhi, nu) which corresponds to Bilaval That of Hindustani. Its jati is Audava-Sampoorna with vakra sanchar in avaroha. In aroha Ga and Ni are not used. Aroha and avaroha are,

स रि₂ म₁ प ध₂ सं - सं नि₁ ध₂ प म₁ ग₂ रि₂ स.

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

स रि म प ध - सं नि प ध प म ग रि स.

The following svara groups are used,

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

Durvangi is a rare raga. A composition in this raga is, Ganapate (Sanskrit)—Tisra Triputa Tala—Jayachamaraja Wadiyar.

264

RAGANIDHI

GANDHARADOLA

Hindustani

There is no Hindustani raga called Gandharadola. This rare Karnatak raga sounds like Khambavati in aroha and mutilated Jayajayavanti in avaroha. Aroha and avaroha are,

स रि म प ध सं - सं नि ध प म ग रि स.

This is an interesting raga which can be included among ragas of Khamaj That (Harikamboji).

Karnatak

Gandharadola is a rare raga which is shown as a janya of the 28th Melakarta Harikamboji (ri, gu, ma, dhi, ni) which corresponds to Hindustani Khamaj That. Its jati is Shadava-Sampoorna. In aroha Ga and Ni are omitted. Aroha and avaroha are,

स रि3 म1 प ध3 सं - सं नि2 ध2 प म1 ग2 रि2 स.

Svaras used are Chatusruti Ri, both Sadharana and Antara Ga, Suddha Ma, Chatusruti Dha and Kaisiki Ni. Sadharana Ga is used in the vakra sanchara म ग रि स. According to Hindustani notation the aroha and avaroha are,

स रि म प ध सं - सं नि ध प म ग रि स.

A composition in raga Gandharadola is,

Enorede Bananchinanche (Kavarese opera song)—Khanda Chapu Taia—P. T. Narasimhachar.

GAURI TODI

Hindustani

Gauri Todi is formed by mixing the two popular ragas Gauri and Todi. Hence the use of both Komal and Tivra Ri, both Komal and Tivra Ga and both Suddha and Prati Ma is necessary. Other svaras are Komal Dha and Tivra Ni.

Mixing of Gauri and Todi angas is done in all the three saptaks, Mandra, Madhya and Tara. Chalan of this raga is as under.

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

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

Vadi is Dha and Samvadi Ga. This raga is suited for the last prahara of night. Compositions in Gauri Todi are,

Nisa Dina Tero Dhyan—Ek Tal (Vilambit) —Baburao Kaslikar.

Kariye Kripa Dayani—Tri Tal (Drut)—Baburao Kaslikar.

Karnatak

There is no raga called Gauri Todi nor one which resembles this rare Hindustani raga.

GOPRIYA

Hindustani

There is no Hindustani raga called Gopriya. This rare Karnatak raga is an interesting one (See below).

Karnatak

Gopriya is a janya of the 62nd Melakarta Rishabhapriya (ri, gu, mi, dha, ni). Its jati is Shadava-Shadava. Pa is not used.

This scale is called “De Bussey's Scale” as it was popularised by the French composer De Bussey. The peculiarity in this scale is that there is approximately an interval of “Whole Tone” or “Full Tone” between any two consecutive notes. Due to this in the process of “Model Shift of Tonic” whichever note be taken as the tonic or “Adhara Sruti” the resulting scale is Gopriya or De Bussey's Scale.

Aroha and avaroha of Gopriya are,

स रि2 ग3 म1 ध1 सं - सं नि3 ध1 म1 ग3 रि2 स.

Svaras used are Chatusruti Ri, Antara Ga, Prati Ma, Suddha Dha and Kaisiki Ni. According to Hindustani notation aroha and avaroha of Gopriya are,

स रि ग म ध नि सं - सं नि ध म ग रि स.

Gopriya is not a popular raga. A recent composition in this raga is,

Na Mora Vina Rada (Telugu)—Rupaka Tala —S. Ramananathan.

265

APPENDIX

266

RAGANIDHI

GOUD KAMOD

Hindustani

This is a mixture of Goud and Kamod ragas. It belongs to Kalyan That (Mehakalyani).

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

Svaras used are Tivra Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dh, and both Komal and Tivra Ni. Vadi is Pa and Samvadi Ri. This raga is sung during the first prahara of night. Goud Kamod is appealing during rainy season. A composition in this raga is,

Barasana Lagi Bundaniya—Teen Tal—Narayanadatta Joshi.

Karnatak

There is no Karnatak raga called Goud Kamod nor one which resembles this newly introduced Hindustani raga.

GOVERDHAN TODI or GODHANI TODI

Hindustani

Goverdhan Todi is also called Godhani Todi. This raga is said to have been invented by the Rampur musicians who belong to Seniya Gharana (Tansen’s school).

This raga has chhayas of three ragas, Desi, Bhimpalasi and Kafi. It seems to be called a kind of Todi due to the Kafi. It seems to be called a kind of Todi due to the influence of Desi or Deshi Todi. It can be put under Kafi That (Kharaharapriya). Svaras used are Tivra Ri, Komal Ga, Suddha Ma, both Komal and Tivra Dh and Komal Ni. Vadi is Ri and Samvadi Pa. Komal Ga plays a very important role in this raga in avaroha with Komal Ni as नि सां. Svaroop of Govardhan Todi is briefly as shown below.

प निस - म प निस ध - रि व ग रि ग स रि निस - म प ध

नि ग स रि निस ग स रि निस स ! रि व नि स - प निस - सं रि गं स रि

नि स - म प ध नि स - स म रि नि स.

267

APPENDIX

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

Kale Karata—Teen Tal.

Karnatak

There is no Karnatak raga called Godhani Todi or Goverdhan Todi, nor one which resembles this rare Hindustani raga.

GUHAMANOHARI

Hindustani

There is no Hindustani raga called Guhamanohari. This newly introduced Karnatak raga corresponds to the rare Hindustani raga Puliodika which belongs to Kafi That (Kharaharapriya). Aroha and avaroha of Pulindika are,

स रि म प नि स — सं नि ध म रि स (See Pulindika).

Karnatak

This raga has been introduced by Shri N. S. Ramachandran. It is placed under the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni) which corresponds to Khamaj That of Hindustani. Its jati is Audava-Audava. Ga and Pa are omitted. Aroha and avaroha of Guhamanohari are,

स रि म प नि सं — सं नि ध प म रि स.

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

स रि म प नि स — सं नि प म रि स.

Guhamanohari is a pleasing raga. A composition in this raga is,

Mayile (Tamil)—Adi Tala—N. S. Ramachandran.

Raga Nagavalli mentioned in the book Gayaka Siddhantan-janamu by Tichur Singarachar Brothers has the same aroha and avaroha as Guhamanohari described above.

Guhamanohari is allied to the popular raga Andolika.

Andolika—In aroha Pa is used and not Ni. Avaroha is as in Guhamanohari (See Andolika).

268

RAGANIDHI

GUNAKAUNS

Hindustani

This is a new raga. Its jati is Audava-Sampoorna with vakra sancharas in avaroha. Ri and Pa are omitted in aroha. Aroha and avaroha of Gunakauns are,

निस-गम-निध-निसं-स--निध-म-प- गमगरि-सस-निध-निस.

Svaras used are Tivra Ri, Komal Ga, both Suddha and Prati Ma, Komal Dh and Tivra Ni. Prati Ma is also used in special sancharas to produce for rajakatwa a Mooltani effect. In this raga there are angas of BhimpaIas Kafi and Mooltani raga as under.

BhimpaIas—निस-म-म-गप-मग.

Kafi—रिग-मग-दिस-निधुनि.

Mooltani—गप-म-पम-पम-पनि.

Vadi is Ma and Samvadi Sa. This is a night raga. This is a difficult raga as the beauty of this raga depends on the ability of the musician to indulge in the Tirobhava and Avirbhava prayogas. This is not a popular raga. The following compositions in this raga are available.

Terohi Guna Gavoo—Jhaptāl (Vilambit).

Chatura Guni Gave—Tri Tāl (Drut).

Karnatak

There is no Karnatak raga called Gunakauns. There is no allied Karnatak raga.

HAMSANADA

Hindustani

Hamsanada of Hindustani is a rare raga belonging to Marwa That (Gamanashrāma). Its jati is Audava-Audava. In aroha Pa and Dh are not used. In avaroha Dh and Ga are omitted. Aroha and avaroha are,

सरिगमनिसं-संनिधपमरिस.

APPENDIX

269

Svaras used are Komal Ri, Tivra Ga, Prati Ma, and Tivra Ni. This is an evening raga.

Hamsanada of Hindustani has no resemblance to the Hamsanada of Karnatak. There is a Hindustani raga called Hamsananda. This has great resemblance to the Karnatak raga Hamsanada. Aroha and avaroha of Hamsananda which also is a rare raga are,

सरिमपधनिसं-संनिधनिपसरीस.

Hamsanada belongs to Kalyān Thāt (Mechakalyani).

Karnatak

Hamsanada is a janya of the 60th Melakarta Neetimati (ri, gi, mi, dhu, nu). It is a Shadava-Shadava raga. Ga is omitted. Aroha and avaroha are,

सरि₂म₁पध₂निसं-संनि₃ध₂निपस₂रि₂स.

Svaras used are Chatsruti Ri, Prati Ma, Shatsruti Dh, and Kakali Ni. According to Hindustani notation the aroha and avaroha are,

सरिमपनिसं-संनिनि₃पसरीस.

(In above Komal Ni (नि) represents Shatsruti Dh (ध₂) of Karnatak).

In the Hamsanada as is rendered at present, Shatsruti Dh (नि) is not used at all. At present it has become an Audava-Audava raga with the following aroha and avaroha.

सरिमनिसं-संनिपसris.

Even with this simplified form it is a pleasing raga. The following composition in this raga is very popular.

Banturiti Koluvayya (Telugu)—Adi Tāla—Tyāgarāja.

Rāga Varāta which is a janya of 58th Melakarta Dharmavati has the same aroha and avaroha as the present day simplified Hamsanada.

270

RAGANIDHI

HAMSARUPINI

Hindustani

There is no Hindustani raga called Hamsarupini. This

new Karnatak raga is a combination of Bhoop in aroha and

Madhumad Sarang in avaroha.

स रि ग प ध सं - सं नि प म रि स.

It is an interesting raga which could be introduced into

Hindustani music also.

Karnatak

We owe this raga to Shri B. K. Padmanabha Rao of

Mysore. Hamsarupini has for its aroha Mohana and for

avaroha Madhyamavati. This raga is placed under the 28th

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

to Khamaj That of Hindustani. Aroha and avaroha are,

स रि2 ग2 प ध2 सं - सं नि2 प म1 रि2 स.

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

Chaturasruti Dh and Kaisiki Ni. According to Hindustani

notation the aroha and avaroha are,

स रि ग प ध सं - सं नि प म रि स.

A composition in this new raga is,

Sreenatha Paripalaya Mam (Sanskrit)—Adi Tala

—B. K. Padmanabha Rao.

HARINI

Hindustani

This rare Karnatak raga sounds like a mixture of Mand and

Khamaj ragas. Aroha sounds like Mand and avaroha has chaya

of Khamaj. This is an interesting raga with the following aroha

and avaroha.

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

Karnatak

This raga seems to be a new introduction, with lot of

Hindustani flavour in it. Its jati is Shadava-Sampoorna. Ri

is not used in aroha. Aroha and avaroha are,

स रि2 म1 प ध2 नि2 ध2 सं - सं नि2 सं नि2 ध2 प म1 ग3 म2 रि2 स.

271

APPENDIX

Svaras used are Chaturasruti Ri, both Sadharana and Antara

Ga, Suddha Ma, Chaturasruti Dh and both Kaisiki and Kakali

Ni. There are vakra sancharas in both aroha and avaroha.

Aroha and avaroha according to Hindustani notation are,

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

Use of Sadharana Ga (Komal Ga) at the close of avaroha

as म ग रि s gives a charm to this raga. The following sancharas

are frequently used.

स रि - मि स न स रि - ग प म स - सं रि सं त्रि धु नि s - प म ग स -

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

नि ध प - प नि ध म s प - सं नि ध प स - प सं त्रि ध प म प s -

रि म ग रि - सं रि s s.

A composition in raga Harini is,

Tele Makkala Eledata (Kanarese opera song)—Jhampe

Tala—P. T. Narasimhachar.

HEMAPRIYA

Hindustani

There is no raga called Hemapriya in Hindustani. This

raga is obtained by using Prati Ma in place of Suddha Ma in

the popular raga Abhogi or Abhogi Kanada.

Abhogi—स रि ग म ध सं - सं ध म ग रि स.

Hemapriya—स रि ग म ध सं - सं ध मं ग रि स.

This is a pleasing raga and the use of Prati Ma has to be

done carefully.

Karnatak

Hemapriya is a janya of the 58th Melakarta Hemavati (ri,

gi, mi, dhi, ni). Its jati is Audava-Audava. Pa and Ni are

not used. Aroha and avaroha are,

स रि2 ग2 म2 ध2 सं - सं ध2 म2 ग2 रि2 स.

272

RAGANIDHI

Svaras used are Chatsruti Ri, Sadharana Ga, Prati Ma and Chatsruti Dh. According to Hindustani notation aroha and avaroha are,

स ri ग् म घ सं – सं घ म ग ri स.

Hemapriya is a pleasing raga and deserves to be popularised. A composition in this raga is, Ati Madhuram Shruta Ragam (Sanskrit)—Lakshanageeta— Rupaka Tala—B. Subba Rao.

Hemapriya may be considered to be the Prati Madhyama counterpart of the popular Suddha Madhyama raga Abhogi (See Abhogi).

INDUMATI

Hindustani

Indumati is a rare raga belonging to Poorvi That (Kama-vardhini). Its jati is Audava-Shadava. In aroha Ri and Pa are not used. In avaroha Ri is omitted. Aroha and avaroha are,

स ग म् ध नि सं – सं नि ध् प म ग स.

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

This raga has a chaya of Basant. But Suddha Ma is not used in Indumati. Ri which is used at the end of avaroha of Basant is missing in Indumati. Svaras group म ग स at the end of avaroha sounds like Hindol.

This is a pleasing raga and deserves to be popularised.

Aroha and avaroha of Indumati of Hindustani are like those of Indumati of South.

Karnatak

Indumati is a janya of the 51st Melakarta Kamavardhini (ra, gu, mi, dha, nu) which corresponds to Poorvi That of Hindustani. It is an Audava-Shadava raga. Ri and Pa are omitted in aroha. In avaroha Ri is not used. Its aroha and avaroha are,

स ग ri म ग ध नि से – सं नि ध ग प म ग ri स.

APPENDIX

273

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

स ग म् घ नि सं – सं नि ध् प म ग स.

Indumati is a pleasing raga and yet not a popular one. A composition in Indumati is,

Lavanya Balakrishna (Sanskrit)—Rupaka Tala —B. K. Padmanabha Rao.

JALADHAR MALHAR

Hindustani

Jaladhar Malhar is a combination of Jaladhar Kedar and Mia Malhar ragas in poorvanga and uttaranga respectively (See Jaladhar Kedar and Mia Malhar).

Jaladhar Malhar belongs to Kafi That (Kharaharapriya). Its jati is Shadava-Shadava with vakra sancharas in both aroha and avaroha. Ga is omitted. Aroha and avaroha are,

स - ri ग - म प ध नि ध् – सं नि ध् प ध प म ri स.

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

Pakad or diagnostic svara groups are,

स ri स म - ri स नि ri स - स ri प -ध प म.

Vadi is Sa and Samvadi Dh. This raga is sung during the first prahara of night. It is a raga for the rainy season like other Malhars. It has "Gambhirya".

Compositions in Jaladhar Malhar are,

Garaja Ghanaye—Ek Tal (Vilambit)—Premprakash Jouhari. Chalo Sakhi Aj—Teen Tal (Madhya)—Premprakash Jouhari.

Karnatak

There is no Karnatak raga called Jaladhar Kedar, nor one which resembles this newly introduced Hindustani raga.

28

274

RAGANIDHI

JOGVARNA

Hindustani

Jogvarna belongs to Asavari That (Natabhairavi). Its jati is Shadava-Sampoorna. In aroha Ni is omitted. Aroha and avaroha are,

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

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

म ri ग ri म - ग ri म प - ध ri मं

Vadi is Pa and Samvadi Sa.

This raga is a mixture of Deshi and Kafi ragas. The vakra sancharas have to be carefully noted. This raga is sung during the second prahara of night. A composition in Jogvarna is,

Tero Mukha Kabahu—Ek Tal (Madhya)—L. N. Ghosh.

Karnatak

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

KAUSHIKADHWANI

Hindustani

Kaushikadhwani belongs to Bilaval That (Dheerasankarabharana). Its jati is Audava-Audava. Ri and Pa are not used. Aroha and avaroha are,

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

Svaras used are all Suddha svaras of Hindustani. Vadi is Ma and Samvadi Sa. This is a night raga and a very pleasing one.

This raga sounds beautiful when the Panchama wire of the tambura is tuned to Madhyama. Halt on Ma which is elongated is pleasing. Svara group नि ध गा s with Ma omitted has a beautiful effect. Sanchara of this raga is as under.

स - ध नि स ग - स ग म स - ग म ध नि सं - ध नि सें ग म स - सं नि ध नि - नि ध ग s - म ग म ध - नि नि सं - नि ध s म - म स म - ध नि स म स - ग म s etc.

275

APPENDIX

A composition in Kaushikadhwani is,

Aj Moriha Balamuva—Teen Tal.

Hindustani raga Bhinnashadja has also the same svaras and aroha and avaroha as Kaushikadhwani.

Bhinnashadja—In avaroha झ ा s स is taken with meend (See Bhinnashadja).

Karnatak

There is no Karnatak raga called Kaushikadhwani. Audava-raga Dhaka which is a janya of the 29th Melakarta Dheerashankarabharana (Bilaval That) corresponds to Kaushikadhwani and Bhinnashadja ragas of Hindustani. Aroha and avaroha of Karnatak raga Dhaka are,

स ग₀ म₁ ध₂ नि₀ सं - सं नि₀ ध₂ म₁ ग₀ स.

According to Hindustani notation the aroha and avaroha are,

स ग म ध नि सं - सं नि ध म ग स.

Dhaka is a very pleasing raga and deserves to be popularised. Prati Madhyama counterpart of Dhaka is Sunadavinodini of South or Hindol of Hindustani (not Hindola). Sunadavinodini has become popular while its Suddha Madhyama counterpart Dhaka is not known at all.

KHAMBAVATI KHAMAJ

Hindustani

We owe this raga to Sri Manhar Barve. This pleasing raga is a combination of the two popular ragas Khambavati and Khamaj. Hence Khambavati Khamaj belongs to Khamaj That (Harikambhoji). Its jati is Audava-Sampoorna with vakra sanchras in avaroha. Ga and Ni are not used in aroha. Aroha consists of Khambavati and avaroha of Khamaj. Aroha and avaroha are,

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

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. This raga is sung during the second prahara of night.

Sanchras म रि स - रि म ग स - म रि - प म - घ प - नि घ - स - प ग स etc., are used.

A composition in Khambavati Khamaj is,

Radha Ne Mori--Tri Tal (Madhya)--Manhar Barve.

Karnatak

There is no Karnatak raga called Khambavati Khamaj.

Karnatak raga Balabamsa has great resemblance to Khambavati Khamaj. Aroha and avaroha of Balahamsa are,

स ri म प स - सि नि् ध प - म ri - म ग ri स.

(See Balabamsa).

KOUSHIYA

Hindustani

Koushiya is different from Koushik, Koushi Kanada, etc.

Koushiya belongs to Khamaj That (Harikambhoji). Its jati is Shadava-Sampoorna. In aroha Ni is not used. Aroha and avaroha are,

स ri स - म ग - म प - स - सं ति् ध - प म ग - स ri स.

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and Komal Ni. This is a night raga. Svaragroups स ri म ग and म प सं नि् ध sound beautiful. A composition in Koushiya is,

Mata Tere Charanome--Tri Tal--B. K. Bhatnagar.

This raga resembles Khamaj.

Khamaj--Ni is used in aroha. There are also sanchara differences (See Khamaj).

Karnatak

There is no Karnatak raga called Koushiya. Karnatak raga Khamas resembles Hindustani Koushiya to some extent (See Khamas).

KSHANIKA

Hindustani

(See Vol. III Kshanika)

Hindustani raga Kshanika has no resemblance to the Karnatak raga Kshanika. Hindustani raga Kokila Panchama resembles Karnatak raga Kshanika which is also called Prabhu-priya (See Kokila Panchama and Prabhupriya).

Karnatak

Kshanika is a janya of the 20th Melakarta Natabhairavi That. Its jati is Audava-Audava. Ri and Ni are not used. Aroha and avaroha are,

स ri₂ म₁ प ध₁ स - स ध₁ 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 स - स ध प म ग स.

Svara group स ध s ध with Dh elongated in Mandra sthayee sounds beautiful.

Kshanika is a very pleasing raga. A composition in this raga is,

Dhyana Dharata Hu (Hindi)--Adi Tala--B. Subba Rao.

LAGAN GANDHAR

Hindustani

We owe this raga to Sri Kumar Gandharva. Its jati is Svarantara (Chatusvari)--Shadava. In aroha Ri, Ma and Ni are not used. In avaroha Ma is omitted. Aroha and avaroha are,

ध स ग - प ध स - सं नि् नि - ध नि् ध प -

ri ग ri - नि ध ri स.

Svaras used are Tivra Ri, both Komal and Tivra Ga, Tivra Dh and Komal Ni. In the group ग ri ग the middle Ga gets a slightly higher pitch than Komal Ga but lower than Tivra Ga.

Similarly in the group निं. निं. निं. the middle Ni is slightly higher than Komal Ni but lower than Tivra Ni. Pakad or Gunjan svara groups are,

ध स - ग ग रि स - र ग - प ध प - ग ग - रि स.

Vadi is Komal Ga and Samvadi Ni. It has Gambhirya. It is a night raga. Compositions in Lagan Gandhar are, Sudha Na Rahi Mohe—Ek Tal (Vilambit)

—Kumar Gandharva.

Baje Le Mora—Tri Tal (Drut)—Kumar Gandharva.

Karnatak

There is no Karnatak raga called Lagan Gandhar. Newly introduced Karnatak raga Dwigandharabhushini in which both Komal and Tivra Ga occur side by side as ग ग न न has chaya of Lagan Gandhar in certain sancharas (See Dwigandhara-bhushini).

LALIT MANGAL

Hindustani

Lalit Mangal is a “Paramela Praveshak” raga and is sung before dawn (Ushahkala). This rare raga belongs to Poorvi That (Kamavardhini). Its jati is Audava-Sampoorna. Ri and Ga are omitted in aroha. Aroha and avaroha are,

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

Svaras used are Komal Ri, Tivra Ga, both Suddha and Prati Ma, both Komal and Tivra Dh and Tivra Ni. Suddha Ma is used in the svara group स र म ग where both Suddha and Prati Ma occur side by side. Otherwise only Prati Ma is found. Komal Dh is used in avaroha and Tivra Dh in aroha. Sometimes even Komal Ga is touched for ranjakatwa. Sanchara of Lalit Mangal is briefly as under,

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

Vadi is Sa and Samvadi Pa. This raga is considered to be a mixture of a number of ragas Basant, Hindol, Bhatiyar and Sohoni. A composition in Lalit Mangal is,

Bijuri Chamakata Jiya—Tri Tal—Y. D. Bhatt.

Karnatak

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

MADHASURAJA

Hindustani

We owe this raga to Sri Kumar Gandharva. Its jati is Audava-Audava. Ga and Dh are not used. Aroha and avaroha are,

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

Svaras used are both Komal and Tivra Ri both Suddha Prati Ma and Komal Ni. Pakad or diagnostic svara groups are,

रि स स स - रि म प नि म स स स म - रि म प म रि स स स.

Vadi is Ma and Samvadi Ni. In this raga there are chayas of Madhumad Sarang and Bairagi Bhairav. Sangati निं म स स स is beautiful. Ending avaroha with निं रि स स स sounds like Ahir Bhairav.

This raga also, like Bairagi Bhairav, expresses fear and distress. This is a midday raga. A composition in Madhasuraja is,

Bachale Mori Ma—Tri Tal (Vilambit and Madhya)

—Kumar Gandharva.

Karnatak

There is no Karnatak raga called Madhasuraja. Chayas of Madhyamavati, Revati, and Chakravak are found in this new Hindustani raga.

280

RAGANIDHI

MAGHAVA

Hindustani

We owe this raga to Sri Kumar Gandharva. This raga belongs to Khamaj That (Harikambhoji). Its jati is Audava-varoha are,

स र म प नि सं ग म

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

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

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

Svara group म नि ध नि सं gives a slight touch of Bahar. In this raga, in aroha there are vakra sancharas. Vadi is Ma and Samvadi Ni. It is a night raga. Compositions in Maghava are,

Mor Layi Re--Tri Tal (Madhya)--Kumar Gandharva.

Savana Jhar Ayo--Tri Tal (Madhya and Drut)

--Kumar Gandharva.

Karnatak

There is no Karnatak raga called Maghava. Karnatak raga Svaravali which is a janya of the 28th Melakarta Harikambhoji (Khamaj That) resembles the new Hindustani raga Maghava. In Svaravali Pa is also used in aroha. Its aroha and avaroha are,

स र ग म प ध नि - सं नि ध प म ग रि स.

MALIKALI

Hindustani

Malkali is a rare raga having svaras of Khamaj (Harikamboji) and Asavari (Natabhairavi) Thats. Its jati is Shadava-Shadava. Ri is not used. Aroha and avaroha are,

स ग म - प प - ग म - नि धू - नि सं - स - सं ग नि सं - सं नि धू स -

प प - म प - ग म - स.

Svaras used are are Tivra Ga, Suddha Ma, Komal Dha and Komal Ni. There are vakra sancharas in both aroha and

APPENDIX

281

avaroha. These give beauty to the raga. Sangatis नि ध सं and ग म रि sound beautiful.

A composition in Malkali is,

Chavara Dulavu Re--Tilwada (Vilambit)--V. N. Bhat.

Pancham Malakosh (also called Sunderkauns) is allied to Malkali. In Pancham Malakosh Pa is not used in aroha. Ga is Komal (See Pancham Malakosh and Sunderkauns).

Karnatak

Malkali is an interesting raga which can be introduced in the South.

Malkali has some resemblance to the Karnatek raga Jayanthashree. In Jayanthashree Sadharana Ga is used. In Malkali Antara Ga is used.

Aroha and avaroha of Malkali are,

स ग₂ म₁ - प - प म₂ म₁ - नि₂ ध₂ - सं - सं ग₂ नि₁ सं - सं नि₂ ध₂

म₁ प प - ध₁ प - ग₂ म₂ स.

MALAVATI

Hindustani

We owe this raga to Sri Kumar Gandharva. Its jati is Audava-Sampoorn. In aroha Ga and Ni are omitted. Its aroha and avaroha are,

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

प ध प म ग रि - स रि ग रि ग स.

Svaras used are all Suddha svaras of Hindustani. Pakad or Gunjan svara groups are, ग स रि ग - स रि म ग रि स स - स.

Vadi is Ri and Samvadi Dha. Svara group प ध प म - प ध प with vakra sanchara of Ga produces a peculiar effect in Malavati. 'This raga is sung during the second prahara of night (9 P.M. to midnight).

Compositions in Malavati are,

Chalare Chala Jare--Ek Tal (Vilambit)--Kumar Gandharva.

Mangala Dina Aj--Tri Tal (Madhya)--Kumar Gandharva.

282

RAGANIDHI

Raga Arabhi resembles Malavati.

Arabhī—Vakra sanchara प ध प म - प ध प of Malavati is not found in Arabhi. Avaroha does not end with नि रि ग स (See Arabhi).

Karnatak

There is no Karnatak raga called Malavati. Manavati is a different raga. Karnatak raga Arabhi resembles Malavati in certain sanchāras (See Arabhi).

MANORAMA

Hindustani

There is no Hindustani raga called Manorama. Manorama resembles Hindustani raga Asavari. In Asavari, both Ri and Ni are not used in aroha. There is no vakra sanchara in aroha of Asavari. Aroha and avaroha of Asavari are,

स रि म प धु स - सं नि धु प म गे रि स.

(See Asavari)

Karnatak

Manorama is a janya of the 20th Melakarta Natabhairavi (ri, gī, ma, dha, ni) which corresponds to Asavari That of Hindustani. Its jati is Shadava-Sampoorna. In aroha Ni is omitted. There is a vakra sanchara in aroha—प ध प सं. Aroha and avaroha are,

स रि2 नि2 म1 प ध1 प सं - सं नि2 घ1 प म1 ग2 रि2 स.

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

स रि म प धु प सं - सं नि धु प म गे रि स.

A composition in Manorama is,

Sarva Jagat Vyapinam (Sanskrit)—Adi Tala

—Muthiah Bhagavatar.

APPENDIX

283

NABHIKAUNS

Hindustani

(See Vol. III Page 165)

Aroha of this raga consists of Chandrakauns and avaroha of Malakauns and not the reverse arrangement as described in Vol. III.

Karnatak

(See Vol. III Page 166)

NĀTA BHATIYAR

Hindustani

Nata Bhatiyar is formed by mixing the two ragas Nata and Bhatiyar. It is difficult to fix the aroha and avaroha of this raga. Its Chalan is as under,

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

रि मि स स -म स' गं स -सें रि लि ध नि -प म निं धु -ध म -

प ग रि स - नि स -स नि -स रि म स.

Svaras used are both Komal and Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Vadi is Ma and Samvadi Sa. A composition in Nata Bhatiyar is,

Kunjname Baite—Ada Choutal (Madhya).

Karnatak

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

NATA KAMBHOJ

Hindustani

Nata Kambhoj belongs to Bilaval That (Dheerasankarabharana). Its jati is Shadava-Sampoorna. In aroha Ga is omitted. Aroha and avaroha are,

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

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. There are vakra sanchāras in both aroha and avaroha. Vadi is Pa and Samvadi Ri. This

raga is sung during the second prahara of night (9 P.M. to Midnight).

Nata Kambhoj has some resemblance to Chayanat. But Tivra Ma is not used in Nata Kambhoj. Svara group ऋ ग म प

of Chayanat is not found in Nata Kambhoj. Svara group

in avaroha in न म रि स is used and is suggestive of Khamaj. Ri is elongated

in Nata Kambhoj is,

Nata Kambhoj Rag (Lakshanageet)—Surphag Tal Para

Ghar Ab Mat Javo—Tri Tal.

NAVARATNA VILASAMU

Hindustani

There is no Hindustani raga called Navaratnavilasamu. Both the types of this Karnatak raga belonging to Natabhairavi (Asavari) and Kharaharapriya (Kafi) Thats are pleasing.

Karnatak

There are two types of Navaratnavilasamu. One is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni) which corresponds to Hindustani Kafi That and the other is a

janya of the 20th Melakarta Natabhairavi (ri, gi, ma, dha, ni) which corresponds to Hindustani Asavari That.

Type 1 (Kharaharapriya Janya). Its jati is Audava-Shadava. In aroha Ga and Dh are omitted. In avaroha Pa is not used. Aroha and avaroha are,

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

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

स रि म प नि सं — सं नि घ म ग रि स.

A composition in this type of Navaratnavilasamu is,

Navakshara Manastute (Sanskrit)—Adi Tala

—Muthiah Bhagavatar.

Type 2 (Natabhairavi Janya). Its jati is Shadava-Shadava. Ni is omitted. There are vakra sancharias in both aroha and avaroha. Aroha and avaroha are,

स रि2 ग2 म1 प ध1 — सं ध1 प म1 ग2 म1 रि2 स.

Svaras used are Chaturasruti Ri, Sadharana Ga, Suddha Ma and Suddha Dha. According to Hindustani notation the aroha and avaroha are,

सरि ग म प ध पसे — सं ध प म ग रि स.

A composition in this type of Navaratnavilasa is,

Navaratnavilasa Vaibhave (Sanskrit)—Adi Tala

—Muttuswamy Dikshitar.

NAVARASAKALANIDHI

Hindustani

There is no Hindustani raga called Navarasakalanidhi. Hindustani raga Desh has some resemblance to this rare Karnatak raga. In Desh Tivra Ni is used in aroha (See Desh).

Karnatak

This rare Karnatak raga belongs to the 28th Melakarta Harikambhoji (ri, gu, ma, dhu, ni) which corresponds to Hindustani Khamaj That. Its jati is Audava-Sampoorna with vakra sanchara in aroha. Ga and Dh are not used in aroha. Aroha and avaroha are,

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

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

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

A composition in Navarasakalanidhi is,

Yemo Daya Radu (Telugu)—Adi Tala—N. S. Ramachandran.

Kedaragaula, and Narayanagaula, are allied to Navarasa-kalanidhi.

Kedaragaula—No vakra sanchara in aroha (See Kedaragaula).

Narayanagaula—Dh is used in aroha in vakra sanchara. There is vakra sanchara in avaroha (See Narayanagaula).

286 RAGANIDHI

NIRMALANGI

Hindustani

(See Vol. III Raganidhi)

Karnatak

(See Vol. III Raganidhi and add)

There is an old raga calied Nirmalangi which is a janya of the 30th Melakarta Naganandini (ri, gu, ma, dhu, nu). Its jati is Audava-Sampoorna with vakra sanchara in avaroha. Ga and Ni are omitted in aroha. Aroha and avaroha are,

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

Svaras used are Chatsruti Ri, Antara Ga, Suddha Ma, Shatsruti Dh, and Kakali Ni. Aroha and avaroha are,

स रि म प नि₃ सं — सं नि₃ ति प म ग रि स.

Komal Ni (नि₂) represents Shatsruti Dh (ध₂).

This type of Nirmalangi has no resemblance to Nirmalangi described already. There is no composition available in this old raga.

NINDIYARI

Hindustani

We owe this raga to Sri Kumar Gandharva. Its jati is Sampoorna-Sampoorna. Aroha and avaroha are,

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

Svaras used are all Suddha svaras of Hindustani and Prati Ma in addition. This raga sounds like Kalyani (Mechakalyani) in aroha and Bilaval (Shankarabharana) in avaroha. Diagnostic svara group or Pakad consists of ध नि स रि s s - स नि s s s -नि स नि धु नि स रि s s - म ग रि s - स नि स. While rendering this raga Suddha Ma is more in evidence. Halting on Ri and Ni frequently is characteristic of this raga. Vadi is Ri and Samvadi Dh. Its prakriti is Shanta. It is an evening raga.

A composition in Nindiyari is,

Ajare Aja–Tri Tal (Vilambit and Madhya)

—Kumar Gandharva.

287 APPENDIX

Karnatak

There is no Karnatak raga called Nindiyari nor one which resembles this new Hindustani raga. It can be formed by combining Kalyani in aroha and Shankarabharana in avaroha.

NIROSHTA

Hindustani

(See Volume III)

Karnatak

(See Volume III)

Audava-Audava ragas having the same svaras and sanchara krama in both aroha and aroha are of 15 types or patterns. One of these is स रि ग नि प pattern in which Ma and Pa are the svaras which are omitted. 36 ragas of this pattern are possible from the 72 Melakartas. All of them are Niroshta ragas as the svaras used can be uttered by those who have no lips. Each one of them however has got a name. Name of the Niroshta raga pattern derived from the 29th Melakarta Dheerasankarabharana is Putrika. Sri Muthiah Bhagavatar had also used the name Putrika for the raga in which he composed the Kriti, Raja Raja Radhite. He later on called it as Niroshta as this name has a special significance for this pattern of Audava-Audava ragas. No other composition existed in Karnatak Sangeet in a Niroshta raga.

PULINDIKA

Hindustani

This rare raga belongs to Kafī That (Kharaharapriya). Its jati is Audava-Audava. Ga and Pa are not used. Aroha and avaroha are,

स रि म ध नि सं — सं नि ध प म रि स.

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

288

RAGANIDHI

This raga sounds like Bageshree without Ga. Svaragroup प म ध reminds us of Sorat of North and Andolika of South.

A composition in this very pleasing raga is,

Phaguna Gada Jobanayee—Dhamar Tal—Baiju Bavara.

Karnatak

There is no Karnatak raga called Pulindika. Raga Naga-valli which is a janya of the 22nd Melakarta Kharaharapriya (ri, gi, ma, dhi, ni), which corresponds to Kafi That of Hindustani, has the same aroha and avaroha as Pulindika.

Aroha and avaroha of Nagavalli are,

स रि म प ध नि स — स नि ध प म ग रि स.

Nagavalli is a pleasing raga but not popular yet. Guha Manohari is another name for Nagavalli (See Guha Manohari).

Andolika which is a popular Karnatak raga has some rememblance to Pulindika. The avaroha are similar. In aroha Pulindika uses Dhi while Andolika uses Pa. Aroha and avaroha of Andolika are,

स रि म प नि स — स नि ध म ग रि स (See Andolika).

RAHI

Hindustani

We owe this raga to Sri Kumar Gandharva. Its jati is Audava-Sampoorna. Ga and Ni are omitted in aroha. Aroha and avaroha are,

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

Svaras used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dh and both Komal and Tivra Ni. Komal Ni is used in the special svara group स नि S स रि s at the end of avaroha which is characteristic of this raga. Vadi is Sa and Samvadi Pa.

Nyasa svaras are Ri, Ma and Dh. Pakad svara groups are,

स नि S S — स रि म S S — स रि S — स नि S S — स रि S.

This is a night raga. A composition in Rahi is,

Ajare Kantha—Tri Tal (Madhya)—Kumar Gandharva.

289

APPENDIX

Hindustani raga Mand and Arabhi are allied to Rahi, but in these raga the special sanchara स धि S स with Komal Ni in Mand and Arabhi is not found (See Mand and Arabhi).

Karnatak

There is no Karnatak raga called Rahi. Karnatak raga Arabhi and Mand which has also become popular in the South resemble Rahi in many sanchara.

RATNABHUSHANI

Hindustani

There is no Hindustani raga called Ratnabhushani. This Audava-Audava raga is an interesting one. It belongs to Bilaval That (Dheerasankarabharana). Aroha and avaroha are,

स रि ग म प सं — सं प म ग रि s स.

Ratnabhushani is a rare raga belonging to the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu) which corresponds to Hindustani Bilaval That. Its jati is Audava-Audava. Dh and Ni are omitted. Aroha and avaroha are,

स रि ग म प सं — सं प म1 ग3 रि s स.

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

According to Hindustani notation they are,

स रि ग म प सं — सं प म ग रि s स.

Svara group म प taken in meend sounds beautiful. Ri is elongated in aroha as म ग रि s स. Svara groups स प ध s - म ग रि s - म प सं प ध s - म ग रि s सं etc., make this raga attractive.

A composition in Ratnabhushani is,

Palaya Mam Ratnabhushani (Sanskrit)—Rapaka Tala —B. Subba Rao.

19

290

RAGANIDHI

RISHABHAVILASA

Hindustani

There is no Hindustani raga called Rishabhavilasa. Aroha and avaroha of this rare raga are,

स ri म p ध्‌स ं — सं ध प म ri ५ म ri ५ स.

Svaras used are both Komal and Tivra Ri, Suddha Ma, and Komal Dh. Komal Ri is used in avaroha only as म ri. ५ स. Tivra Ri is used in both aroha and avaroha. Ga and Ni are omitted. This is an interesting raga.

Karnatak

Rishabhavilasa is a newly introduced raga. Its Jati is Audava-Audava with vakra sanchara in avaroha. Ga and Ni are not used. Aroha and avaroha are,

स ri ५ म1 प ध्‌स ं—स ं ध1 प म1 ri ५ म ri १ स.

Svaras used are both Suddha and Chaturasruti Ri, Suddha Ma and Suddha Dh. Chaturasruti Ri is used only in avaroha in the vakra sanchara ri म ri ५ स. Use of both Rishabhas in avaroha gives a special beauty to this raga. Hence perhaps the name given to the raga. Sanchara ri ri ri ५ स with both varieties of Ri side by side is also used. According to Hindustani notation the aroha and avaroha are,

स ri म प ध्‌स ं — सं ध प म ri ५ स - म ri ५ स.

This is a pleasing raga and has to gain popularity yet. A composition in Rishabhavilasa is,

Nindeyanu Tumbuve Sundarane (Karnatake opera song) —Chatustra Ek Tala—P. T. Narasimhachar.

RITUVILASA

Hindustani

There is no Hindustani raga called Rituvilasa. This can be included among ragas of Bilaval That (Dheerasankara-bharana). Its aroha and avaroha are,

स ग्‌स म प ध नि ं‌स ं — सें नि ्‌ध प म ५ ri ५ स.

Svaras used are all Suddha svaras of Hindustani. In aroha Ri is omitted. In avaroha Ga is not used.

291

APPENDIX

Karnatak

This newly introduced raga is a janya of the 29th Melakarta Dheerasankarabharana (ri, gu, ma, dhi, nu). Its jati is Shadava-Shadava. Ri is not used in aroha. In avaroha Ga is dropped. Aroha and avaroha are,

स ग2 म1 प ध2 नि2 सें — सें नि2 ध2 प म1 ५ ri 2 स.

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

स ग्‌स म प ध नि ं‌स ं — सें नि ्‌ध प म ५ ri स.

Svaras Ga and Ma are elongated in aroha and avaroha respectively.

A composition in Rituvilasa is,

Rituvilasake Manava (Kanarese opera song)—Adi Tala P. T. Narasimhachar.

SANJIVINI

Hindustani

There is no Hindustani raga called Sanjivini. This raga can be included among ragas of Khamaj That (Harikambhoji). Aroha and avaroha of Sanjivini are,

स ग्‌स म प ध नि ं‌स ं — सें नि ्‌ध प म ri ५ स.

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

Karnatak

Sanjivini is a newly introduced raga. It belongs to the 28th Melakarta Harikambhoji (ri, gu, ma, dhi, ni). Jati is Shadava-Shadava. In aroha Ri is omitted. In avaroha Ga is not used. Ga and Ri are elongated in aroha and avaroha respectively.

स ग2 म1 प ध2 नि2 सें — सें नि2 ध2 प म2 ५ ri 2 स.

Svaras used are Chaturasruti Ri, Antara Ga, Suddha Ma, Chaturasruti Dh and Kaisiki Ni. A composition in this raga is,

(Kanarese opera song)—P. T. Narasimhachar.

Sanjivini is allied to Rituvilasa.

Rituvilasa—Chaturasruti (Tivra Ni) Ni is used (See Rituvilasa).

292

APPENDIX

293

SHUDDHA KAMOD

Hindustani

Shuddha Kamod belongs to Kalyan That. (Mechakalyani).

Its jati is Chatuswari-Audava. In aroha Ga, Ma, and Ni are not used. In avaroha Ni and Ga are not used. Aroha and avaroha of this raga are,

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

Svaras used are Tivra Ri, Tivra Dh and both Komal and Tivra Ma. Sangati ऋ प sounds like Kamod. Tivra Ma is used in aroha. Komal Ma is not used in this raga (See Shree Kalyan).

Hindustani ragas Shree Kalyan and Kamod are allied to Shuddha Kamod.

Shree Kalyan—Tivra Ma is used in aroha. Komal Ma is not used in this raga (See Shree Kalyan).

Kamod—Ni is used in aroha. Ni and Ga are used in avaroha (See Kamod).

Karnatak

There is no Karnatak raga called Shuddha Kamod nor one which resembles this Hindustani raga.

SHUDDHA KEDAR

Hindustani

When raga Kedara is sung with only Suddha svaras without the use of Tivra Ma and Komal Ni which are used in Kedar then that raga is called Shuddha Kedar. Aroha and avaroha of Shuddha Kedar will be as under.

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

This is an interesting raga although not a popular one. Hindustani raga Kedar resembles Shuddha Kedar.

Kedar—Prati Ma is used - में प ध प - म. Komal Ni is also sometimes used as में प ध नि ध प (See Kedara).

Karnatak

There is no Karnatak raga called Shuddha Kedar nor one which resembles this Hindustani raga.

SRIMANORANJANI

Hindustani

There is no Hindustani raga called Srimanoranjani. This newly introduced Karnatak raga resembles Hindustani raga Bageshree. In aroha Ri is omitted. Aroha and avaroha of Srimanoranjani are,

स ग म ध नि सं - सं नि ध म ग रि स.

(See Bageshree).

Karnatak

We owe this raga to Shri N. S. Ramachandran. Aroha of this raga has the svaras of Sardhelangi (Hindola with Chatusruti Dh) and avaroha of Sriranjini. Its jati is Audava-Shadava. In aroha Ri and Pa are not used. In avaroha Pa is omitted.

A composition in Srimanoranjani is,

Inta Bharama (Telugu)—Adi Tala—N. S. Ramachandran.

SUDHA

Hindustani

There is no Hindustani raga called Sudha. Hindustani raga Narayani uses the same svaras as Sudha (See Narayani).

Karnatak

Sudha seems to be only another name for the Karnatak raga Narayani (See Narayani), which is a janya of Melakarta Harikambhoji. Its aroha and avaroha according to Hindustani notation are,

स रि म प ध सं - सं नि ध प म रि स.

A composition in raga Sudha is,

Sudha Shubha Sarasvati (Kanarese opera song)—Rupaka Tala—P. T. Narasimhachar.

294

RAGANIDHI

TANDAVAPRIYA

Hindustani

There is no Hindustani raga called Tandavapriya. This rare Karnatak raga can be included among ragas of Poorvi That (Kamavardhini). Its aroha and avaroha are,

स रि ग म प सं - सं प - म ग रि स.

Karnatak

Tandavapriya is a janya of the 51st Melakarta Kamavardhini (ra, gu, mi, dha, nu). Its jati is Audava-Audava. Dhu and Ni are omitted. Aroha and avaroha are,

स रि ग म प सं - सं प म ग रि स.

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

According to Hindustani notation the aroha and avaroha are,

स रि ग म प सं - सं प ग रि स.

Svara groups स प रि स - रि ग म प - स प सं प रि स - सं प म ग etc., are used frequently. This is not a popular raga. A composition in Tandavapriya is,

Pahi Mam Sadashiva (Sanskrit)—Rupaka Tala

—B. Subba Rao.

VARALI

Hindustani

(See Vol. IV)

Hindustani raga Todi resembles Karnatak raga Varali derived from the 39th Melakarta Jhalavarali (ra, ga, mi, dha, nu) as, in the opinion of some musicologists, Ga of Todi is Atikomal which almost corresponds to Suddha Ga of South. In actual practice however descent is not made down to Atikomal Ga. Only Komal Ga is used. With Komal Ga Hindustani Todi corresponds to the 45th Melakarta Subha-pantuvarali (ra, gi, mi, dha, nu) which is also called Varali.

APPENDIX

295

Karnatak

(See Vol. IV)

Strictly speaking Varali should be sung with Suddha Ga in which case it comes under the 39th Melakarta Jhalavarali (ra, ga, mi, dha, nu) and has the following aroha and avaroha.

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

According to Hindustani notation the aroha and avaroha are,

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

(In above Tivra Ri (ri) represents Suddha Ga of South).

Many musicians do not use Suddha Ga. Only Sadharana Ga is used thus converting it to a janya of the 45 Melakarta Shubhapantuvarali (ra, gi, mi, dha, nu).

At present Varali and Shubhapantuvarali are not considered to be two different ragas as only the vakra sanchara स ग रि ग in aroha of Varali does not make much difference. Hence Varali stands for Shubhapantuvarali.

Somehow, since long, Kamavardhini (51st Melakarta) is being called Pantuvarali. There is greater justification for calling Shubhapantuvarali as merely Pantuvarali as the prefix Shubha is meant for purposes of Katapayadi Sankhya Scheme. One reason given for not giving currency to the name Kamavardhini is that it suggests base desire.

VASANTI

Hindustani

There is no Hindustani raga called Vasanti. Avaroha sounds like Ahir Bhairav (See Ahir Bhairav). Aroha and avaroha of this rare Karnatak raga are,

स म ग ध नि सं - सं नि ध म ग प म रि स.

Karnatak

Vasanti is a newly introduced raga. It belongs to the 16th Melakarta Chakravaka (ra, gu, ma, dhi, ni). Its jati

296

RAGANIDHI

is Svarantara (Chatusvari)-Sampoorma with vakra sanchara in avaroha. In aroha only four svaras are used, Ri, Ga and Pa are omitted. Aroha and avaroha of Vasanţi are,

स म₄ ध₂ नि₂ सं — सं नि₂ ध₃ प म₁ ग₂ प म₁ रि₁ स.

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

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

A composition in Vasanti is,

Vasanti Madhavi (Kanarese opera song)—Adi Tala

—P. T. Narasimhachar.

VEDANDAGAMANA

Hindustani

(See Vol. IV)

Karnatak

(See Vol. IV)

Note--In "Gayana Siddhanjanamu" Book V by Vidwans T. Singaracharya and T. C. Singaracharya, among Audava ragas of pattern स ग म प नि सं mention is made of Vedandagamana but not Gambhiranata.

BIBLIOGRAPHY

Vishnu Narayan Bhatkhande--Hindustani Sangeeta Paddhati Parts I to IV (Marathi). ' Hindustani Sangeeta Paddhati Kramik Pustaka Malika--Parts I to VI (Marathi).

Tiruvottiyur Tyagaraja--Sankirtana Ratnavali (Telugu).

Veena Kuppa Iyet--Pallavi-Svara Kalpavalli (Telugu).

V. Venkatagiriyappa--Sangeetamritasara (Kanarese).

Balamuralikrishna--Janakaraga Kritimanjari (Telugu).

S. L. Sapre--Sangeeta Kala Pravesh (Marathi).

K. V. Sreenivasa Iyengar--Gana Bhaskaram (Telugu).

Tyagaraja Hridayam--Vols. I to III (Telugu).

Subbarama Dikshitar--Sangeeta Sampradaya Pradarshini (Telugu).

Firoze Framjee--Encyclopedia of Hindustani Sangeet (Hindi).

Sangita Vidya (Hindi).

P. Sambamoorthy--South Indian Music--Parts I to IV (English). Dictionary of South Indian Music Vols. I and II (English). Great Composers--"Tyagaraja" (English).

Y. K. Subba Rao--Sangita Darpana (Telugu).

V. N. Patwardhan--Raga Vigyan--Parts I to VI (Marathi).

S. N. Ratanjankar--Abhinava Geeta Manjari (Hindi).

K. Vasudevachar--Shree Vasudeva Keertanamanjari Part I and II (Telugu).

Ramakrishna Vaze--Sangeeta Kala Prakash (Marathi).

Vasanta Rao Rajopadhye--Sangeeta Shastra (Marathi).

J. D. Patki--Aparichita Ragas--Vols. I to III (Hindi).

V. Raghavan--The Spiritual Heritage of Tyagaraja (English).

Raja Nawab Ali Khan Sahib--Mariphunnagmat (Hindi).

Kumar Gandharv--Anupama Raga Vilas (Hindi).

P. T. Narasimhachar--Damayanti And Other Operas (Kanarese).

JOURNALS AND MAGAZINES

The Journal of the Music Academy (English)—Madras.

Sangeet (Hindi)—Hathras U.P.

Sangita Kala Vihar (Hindi and Marathi)—Bombay.

Sangeeta Kala (Hindi)—Gwalior (discontinued).

Kalavant—Wardha (discontinued).

Lakshya Sangeet (Hindi)—Bombay (discontinued).

INDEX TO RAGAS

Ragachudamani 1

Ragapanjaramu 1

Ragavardhani 2

Rageshree or Rageshvari 3

Rageshree Bahar 5

Raghupriya 6

Raja Kalyan 6

Rajarajeshvari 7

Rajeshvari 8

Raktabama 9

Ramamanohari 10

Ramapriya 11

Ramavati 12

Randasi Malhar 13

Ramkali 15

Ramkali Todi 17

Ramyanoukhi 18

Ranjani 19

Ranjankauns 20

Raschandra 21

Rasadeep 22

Rasali or Rasavali 22

Rasaraj 23

Rasaranjani 24

Rasia 25

Rasikapriya 25

Ratipatpriya 26

Ratipriya or Rishabhpriya 27

Ratnabhanu 28

Ratnadeep 28

Ratnajyoti 29

Ratnakanti 30

Ratnangi 31

Ratnavarali or Ratnavari 31

Ravichandrika 32

Ravikriya 33

Rayasa Kanada 34

Rewa (Poorvi Ang) 35

Rewa (Shree Ang) 36

Rewagupti 36

Rewati 37

Rishabhapriya 39

Rishabhi Malakosh 39

Ritigaula 40

Rudrapriya 41

Rupamanjari Malbar 42

Rupavati 43

Sahana or Shahana 43

Saheli Todi 45

Saindhavi or Sindhura 46

Sajan 48

Sajgiri 49

Salaga 50

Salaga Bhairavi 50

Salagavarali 52

Salang 52

Salanganata 54

Sama or Shyama 55

Samanta 56

Samanta Jingala 56

Samanta Kalyan 57

Samanta Sarang 58

Sampoorna Malakauna 59

Sampoorna Nand 60

Sangam Kedar 61

Sanjari 61

Sanjh or Sanjh Ka Hindol 62

Santorananjari 63

Saramati 64

Saranga 65

Saranga Malhar 65

Saranga Nata 66

Sarasangi 67

Sarasvati 68

Sarasvati Manohari 69

Sarasvati Ranjani 70

Sarparda 72

Savani 73

Savani Bahar 73

Savani Bhupali 74

Savani Bihag 75

Savani Desh

300

RAGANIDHI

RAGA

PAGE

RAGA

PAGE

Savani Kalyan

76

Shuddha Lalitha

117

Savani Kedar

76

Shuddha Malhar (Bilaval That)

117

Saveri

77

Shuddha Malhar (Khamsj That)

118

Senagrani

78

Shuddha Nata

119

Senavari

79

Shuddha Salavi

120

Shadvidhamargini

79

Shuddha Sarang

121

Shailadeshakshi

80

Shuddha Saveri

123

Shankara

81

Shuddha Seemanatini

124

Shankara Arun

82

Shuddha Sohoni

124

Shankarabharana

83

Shuddha Todi

125

Shankara

84

Shuddha Vasanta

126

Shankara Mobana

84

Shukla Bilaval

127

Shankarabandhu

85

Shulini

128

Shankarapriya or Shivapriya

86

Shyama

128

Shankari

87

Shyam Kalyan

129

Shanmukhapriya

88

Shyam Kedar

130

Sharabhadhwaja

89

Shyama

131

Sharadabharana

90

Shyamalangi

132

Sharadapriya

91

Shyamalangi

132

Sharavati

91

Siddhasena

133

Shekharachandrika

92

Simhadhvani

134

Sheshanada

93

Simhala

135

Shiva Bhairav

93

Simharava

135

Shiva Kambhadi

94

Simhavahini

136

Shivapantivarali

95

Simhendramadhyam

137

Shivaraj

95

Sindh or Sindhu

138

Shivarilak

96

Sindhu Bahar

139

Shivaranjini

97

Sindhu Bhairavi

140

Shobhavari

98

Sindhu Kanada

141

Shree

99

Sindhu Mandari

142

Shree Kalyan

101

Sindhura Asavari

142

Shreemani

102

Sindhura Kafi

143

Shreeranjini

103

Sindhuramakriya

144

Shree Tanki or Tanki

104

Sindhusurati

145

Shreevanti

105

Skandamanorani

146

Shrutiranjani

106

Sohag or Suhag

147

Shubhapantuvarali

107

Sohani or Sohoni

148

Shuddha Bangala

108

Sohoni Bahar

150

Shuddha Bhairavi

109

Soodha Sarang

151

Shuddha Bhim

110

Sorat, Sorati or Surati

151

Shuddha Bibhas

111

Sougandhini

153

Shuddha Bilaval

112

Sourastra

154

Shuddha Deshi

113

Souvira

155

Shuddha Dhanyasi

114

Sthavaraj

156

Shuddha Kalyan

115

Sucharita

157

INDEX TO RAGAS

301

RAGA

PAGE

RAGA

PAGE

Sudhatarangini

157

Utari Desi

192

Sugharayee

158

Utari Gurakali

192

Sugunabhooshini

159

V

Suha or Suha Kanada

160

Vachaspati

193

Suha Bahar

162

Vagadeshvari

193

Suha Sugharayee

162

Vakulabharana

194

Sukumari

163

Valaji

195

Sumadyuti

164

Vanaspati

196

Sumanapriya

164

Varali

196

Sunadavinodini

165

Varati

197

Sunderkauns

166

Vardhani

198

Suposhini

167

Varunapriya

199

Supradeepa

168

Vasantha

199

Suranandini

169

Vasantha Bhairavi

200

Sur Malhar

170

Vasantha Kedar or Basant Kedar

202

Suryakantha

171

Vasantha Shree or Ambamanohari

202

Suryakosh or Suryakauns

172

Vasantha Varali

203

Suvarnangi

172

Vedaghosha

204

Svarabhooshini

173

Vedandagamana

205

Svaravali

174

Veenadhrani

206

Swayambhooswara Raga

174

Veeravasantha

206

T

Vegavahini

207

Takka

175

Venikedar

208

Tanaroopi

177

Vibhavari

208

Tanki or Shree Tanki

178

Vidhyeshvari

210

Tanukcerti

178

Vijayanagari or Vijay

210

Tarangini

179

Vijayasarasvati

211

Tervravahini

180

Vijayambree

212

Tilat Kamod

180

Vijaya Vasantha

213

Tilang

181

Virachismukhi

213

Tilang Bhairav

183

Vishvambhari

214

Todi

184

Vivardhani or Vivardhini

215

Triveni

186

Vijayanti

215

U

Udayaravichandrika

188

Umeebharana

189

Urmika

190

Ushavali

190

Utari Basant

191

Y

Yadukula Kambodi

217

Yagapriya

218

Yaman Kalyan

218

Yamani Bilaval

219

Yamuna Kalyani

220

Yogini

221

ERRATA

LINE PRINTED READ

33 23 नि2 सं नि2 सं

44 16 स - नि सं सं - नि सं

47 26 स1 नि2 घ3 स नि2 ध1

56 21 Svaras use Svaras used

101 3 म प नि सं म प नि सं

101 11 स रि ग5 म रि ग5

103 4 घ रि5 सं... घ रि5 सं...

105 32 प म ग रि स प म ग रि स

110 31 Sampoorna-Sampoorna Audava-Sampoorna

142 24 Asvari Asavari

144 30 Shadava-Sampoorna Shadava-Sampoorna. Ri is omitted in aroha

145 30 sanchara in avaroha sanchara in avaroha. Ga and Dh are omitted in aroha

170 6 Audava-Shadava Audava-Audava.

174 28 (Seem Malashree) (See Malashree)

229 20 Ambika Sarang is not a popular raga Ambika Sarang is not a popular raga. Compositions in this raga are, Eho Bhavara Tum--Teen Tal (Vilambit) Gavo Ambika Sarang--Teen Tal (Drut)

242 Bhagvat Bhairav Bhavanat Bhairav

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

Vadi is Pa and Samvadi Sa. This is a raga for the evening. Pakad or Gunjan svara groups are,

नि स - म ग म - प ग - नि स.

A composition in Shreevanti is,

Jag Jag Mans Hua—Tri Taḷ—Y. D. Bhatt.

Allied Hindustani ragas are, Mooltani, Madhuvanti, Hemavanti and Jayavanti.

Mooltani—नि स - ग म प नि सं — सं नि ध प - म ग ri स Dh is used in avaroha. Avaroha is Sampoorna (See Mooltani).

Madhuvanti—नि स - ग म प - नि - सं - सं नि ध - प - म - ग ri स Ri and Dha are Tivra. Avaroha is Sampoorna (See Madhuvanti).

Hemavanti—स ri म प - ध नि सं — सं नि ध प म ग ri स Ri used and Ga omitted in avaroha. Avaroha is Sampoorna.

Jayavanti—स ri ग - म प सं — सं ख प - म ग ri स Dh and Ni omitted in aroha. Ni not used in avaroha (See Jayavanti).

There is no Karnatak raga called Shreevanti. Vijayashree,

which is a janya of the 47th Melakarta Suvarnangi (ra, gi, mi, dhi, nu) resembles Shreevanti of Hindustani. Aroha and avaroha of Vijayashree are,

स ri ग म प नि सं — सं नि प म ग ri स.

In Vijayashree Ri is used in aroha also (See Vijayashree).

SHRUTIRANJANI

Hindustani

There is no Hindustani raga called Shrutiranjani, nor one which resembles any of the types of this rare Karnatak raga.

Karnatak

There are two types of Shrutiranjani. Type I is derived from the 61st Melakarta Kanthamani (ri, gu, mi, dha, na). Its jati is Sampoorna-Sampoorna. This is a Nishadantya raga. Its aroha and avaroha are,

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

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

स ri गं प ध ध - ध प मं ग ri म or ग ri म.

In the above Tivra Dha (ध) represents Suddha Ni,

Type II is a janya of the 36th Melakarta, Chalanata (ru, gu, ma, dhu, nu). Its jati is Shadava-Svarantara. In aroha Ma is not used. In avaroha, Ni, Dha and Ri are omitted. Aroha and avaroha are,

स ri ग प ध नि सं — सं प म ग स.

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

स ग प नि सं — सं प म ग स.

Komal Ga (ग) represents Shataruti Ri and Komal Ni (नि) represents Shatsruti Dha.

The following composition of Tyagaraja is meant to be sung in Type I Shrutiranjani which is derived from Kanthamani Melakarta.

Yedari Sancharitura (Telugu)—Adi Taḷa—Tyagaraja.

SHUBHAPANTUVARALI

Hindustani

There is no Hindustani raga called Shubhapantuvarali. It corresponds to Todi That of Hindustani sangeet (See Todi).

Karnatak

Shubhapantuvarali is the 45th Melakarta (ra, gi, mi, dha, nu) which corresponds to Todi That of Hindustani sangeet. Its